Born into a prosperous Parisian
family on 19 July 1834, Edgar Degas spent his entire career challenging the values
and standards of art. As identified in
Christopher Lloyd’s biographical work, Edgar
Degas: Drawings and Pastels, Degas stands at the threshold of modern
art. (8) Over the course of his study of
art, he has engaged in a multitude of art forms and mediums. He started as a traditionalist, producing
works in the style of genre, history and portrait paintings. However, by the 1870’s, he became associated
with contemporary subjects and the Impressionism movement. In her text “Joseph Conrad and Impressionism,”
Eloise Knapp Hay describes the movement as “the first truly modern movement in
all the arts because of its stress on fidelity to sense impressions.” (137). As discussed in Lionello Venturi's "The Aesthetic Idea of Impressionism", impressionist painters painted in reaction to the reflex of light, either real
or imaginary. In essence, the artists of this movement painted the appearance of reality
through the expression of opposing colors. (34) Though his fame is attributed
to his contribution to the movement, as explained by Lloyd’s piece, he
preferred to align himself as an independent, instead of a single group.
Nonetheless, his methods remained consistent throughout his career. In the early stages of any artistic construction,
Degas produced a great variety of study drawings and notes to record and study
a single subject in the piece. As stated by Lloyd, for Degas, “drawing was an
instinct” and “painting was an artificial construct.” (8) His finalized
products that are most popular are results of close and vigorous examination of
subjects and focus points in mixed materials.
Image a. The Bellini Family, 1858-1867, Oil on canvas
After three years of study at the Ecole
des Beaux Arts, Degas spent three years visiting Italy. The Ecole aimed to create a standard of
artistic practice, however, Degas aimed to avoid such strict
instruction while residing in Italy. He
distanced himself from the Villa de Medici, which was run by the Ecole due to
his efforts to become, as Lloyd states, “an artist in spite of the system
rather than because of it.” (10) In Italy, he worked within family
circles. He spent a majority of his time
with the Bellini family, a powerful family living in exile from Naples for
political reasons. As shown above, he
aesthetically examined and painted the family.
What is absent from this piece is the sense of the amount of preparatory
drawings involved in the construction of this painting. He created numerous studies drawing in mixed
mediums to prepare for the final piece.
Lloyd describes his use of mix media in his work, by stating “pencil and
chalk are used sometimes in combination, body color and touches of pastels are
introduced for heightening” In this painting, Degas captures the family’s
predicament at the time. The piece is
set in an apartment in Florence, and there is an atmosphere of disengagement
and passive aggression evoked by the positioning of the figures. As identified by in Lloyd’s text, Laura
Bellini shields Giovanna Bellini while Giulia Bellini sits nervously on her
chair. Gennaro Bellini is seen only in profile with his
back to the viewer. The composition of
the figures reveals the difficulties of living in exile. The figures appear aloof in the space, and
set against a background of rigid forms.
Furthermore, the use of oil on canvas creates a heightened attention to
texture and shading. Overall, the
stylistic decisions employed by Degas enforce the degree of difficulty the
family was facing.
Image b. Semiramis Building Babylon, 1860-1862, Oil on canvas
At the start of the 1860’s in Paris, Degas began
to produce works in the genre of history painting. As stated by Lloyd, the works of neoclassical
painter Jean-Auguste-Dominique Ingres and French romantic painter Eugene
Delacroix inspired Degas during his time in Italy. He was not alone in depicting the story of Semiramis;
rather, this story was dominant in the language of representation. In the piece above, the queen of Babylon,
Semiramis has just arrived by chariot.
She is attended to by her attendants, and is standing on the terrace of her palace
overlooking the city of Babylon. In
similar fashion to his past work, he made numerous studies for this piece, and
the final product was created in oil on canvas.
However, instead of just examining the poses, he was also interested in
accounting for the historical details of the costumes, accessories and
appearance of the city. In this case, there
is an added focus on intellectual content in his stylistic decisions.
Image c. Study for Two Dancers
at the Bar, 1876 – 77. Oil on canvas
Towards the later half of the 1860’s and the early 1870’s,
Degas changed his direction. Rather than
depicting images of the past, Degas realized he preferred examining and
accentuating modern subjects. The start
of the 1970’s also marked the birth of Impressionism. Degas is most well known for capturing the
Paris ballet scene in a variety of mediums, such as paintings, drawings,
pastels, and gouaches. This large series
of works were immediately popular in the Paris art scene and still are relevant
today. In the early stages of this
series, Degas kept his distance. He
would only view performances from a seat in the auditorium. This allowed him to have access to a great
variety of viewpoints and dramatic effects of cropping, foreshortening, and
contrast. In time, he gained access to
the backstage areas where rehearsals were conducted. Lloyd associated ballet as a metaphor to
Degas’s life as an artist. By
emphasizing the technicality and physical commitment to the dance, he was
portraying an artist’s dedication to his or her own craft.
Degas’s
methods to depict his subjects also set him apart from his contemporaries. He would first observe the poses from life in
dance classes. He would then ask for
individual dancers to model for him in the studio for a final pose. For these final drawings, Degas mainly used
tinted paper, which was squared for enlargement. This frame would create a dynamic angle of the subject. In these pieces, he would focus on how the
differentiations of texture, skin and satin respond to the dancer’s physical
mobility.
Image d. Little Dancer Aged Fourteen, 1878-81, Wax and fabric
As a testament to his radical use of subject and medium,
Degas also experimented in sculpture. Little Dancer Aged Fourteen was the only
sculpture exhibited by Degas in his lifetime. This sculpture was shown the sixth
Impressionist exhibition in 1881, and it was the only sculpture shown by Degas
in his lifetime. The figure itself was
modeled in wax and supported on metal armature.
The sculpture was then casted in bronze following the artist’s
death. The sculpture evokes qualities of realism
particularly in Degas’s decision to dress the model in real fabrics, such as a skirt, bodice, ballet shoes and a wig made of real
hair. Degas produced about 26 study
drawings of the dancer from many viewpoints to specify the curvature of her
spin, the position of her feet, and the angle of her head.
Image e. Haggarty's Perfumes Billboard, 1946,
Throughout his
life, Degas suffered from a progressive retinal disease, which increasingly
deteriorated his eyesight as he grew older.
As a result, he reached a point in his career where his vision was too
poor to continue. However, as seen from
the image above, his legacy still lives on today. This 1946 billboard was created by Haggarty’s
Perfumes. In this instance, the viewer
is able to conceptualize how Degas’s work has been transformed and commercialized
to fit the standard of the modern age. I chose Degas for this assignment because he is been my favorite artist. As an
art history major, I find his diverse array of subjects and materials incredibly impactful in art history.
Work Cited
Hay, Eloise Knapp. "Joseph Conrad and Impressionism". The Journal of Aesthetics and Art Criticism. The American Society of Aesthetics. Winter 1975
Lloyd, Christopher. Edgar Degas: Drawings and Pastels. London: Thames & Hudson. 2014. Print.
Venturi, Lionello. "The Aesthetic Idea of Impressionism". The Journal of Aesthetics and Art Criticism. The American Society of Aesthetics. Spring 1941.
Image Sources
Image a. Lloyd, Christopher, Edgar Degas Drawing and Painting
Image b. Lloyd, Christopher, Edgar Degas Drawing and Painting
Image c. Lloyd, Christopher, Edgar Degas Drawing and Painting
Image d. ARTstor
Image e. Duke Library Resources
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