Edmondo and Therese Morbilli Author: Edgar Degas Hilaire
Date: 1865 h.
Museum: Museum of Boston
Features: 116 x 88 '3 '5 cm.
Material: Oil on canvas
Style: Impressionism Degas's sister, Thérèse, and her husband Edmondo are the protagonists of this portrait, which shows The difference between them despite being married. Their marriage was still being cousins, using a papal bull to carry it out. Thérèse was the favorite sister of Degas and more portraits made. Maybe that's why we show with a grudge who has been his model. The artist has focused on the two figures, making us forget the rest of the stage. To this end has used muted colors for the background, oblivious to show the details of drapery and fabric covering the table. Thus, the faces and hands of Edmondo and Thérèse are our centers. The husband is in the foreground, in a rigid posture when sitting in a chair and crank it and at the table on the left. His hands are big and rough, in line with the face boring and overbearing. By contrast, Thérèse shows its delicate skin, trapping us with his piercing gaze and direct. His gesture - putting his right hand to the face - the oval face and tied back hair parted in the middle resemble the portraits of Ingres, which both attracted to Parisian society at the time. Some experts believe that supporting the left hand on the shoulder of her husband is considered a dependent attitude toward him, submitting entirely to his will. The cool colors used in contrast to the brilliance of the flesh tones. The light illuminates especially Edmondo, while Thérèse is in an area of \u200b\u200bdim light that gives it greater beauty. The brushwork is quite loose in some areas and in the wall or the ornaments of female dress, while a delicate pattern is seen in the hands and faces. The influence of photography is here present to cut the leg and left arm of his brother. Http://www.artehistoria.jcyl.es/genios/cuadros/1602.htm
Collection Director: Luis Sanguino Arias
drying Author: Edgar Degas Hilaire
Date: 1895 h.
Museum: Private Collection
Features: 52 x 52 cm.
Material: Pastel
Style: Impressionism Of the many figures of bathers that Degas made over his long career no sign to reinforce his face perhaps the sense of intimacy that is created in the environment. In this case the young man covers his face as he raised his left arm to wipe his armpit. In this way creates a pronounced foreshortening to the taste of the artist. The volume of the figure dominates a set of delicate beauty. Http://www.artehistoria.jcyl.es/genios/cuadros/2133.htm
Collection Director: Luis Sanguino Arias
getting a gown
Women Author: Edgar Degas Hilaire
Date :1895-98
Museum: Fogg Art Museum
Features: 70 x 57 cm.
Material: Pastel
Style: Impressionism In the series of bathers painted by Degas, some of them - look like this here - have an erotic charge more than their peers, what has been interpreted by some critics as an example of the use of prostitutes to make these beautiful images. But rather we should say that the artist would make a fine tribute to feminine beauty, treating it in absolute privacy. The fact that it reinforces this view cake as this technique is much more elitist than the oil, very popular at the moment. The woman appears from behind, as many of her colleagues, at the time of wearing a colored gown, increasing the joy of the whole. Only her red hair contrasts with the prevailing tone alive. The contours of the figure are drawn gently contrasting the bill appropriates loose composition. Degas seems to show his model from the point of view of a "voyeur", thereby reinforcing the intimacy of the scene. At the bottom are placed the girl's dresses, whose anatomy is well studied and illuminated by strong light source from the right, creating colored shadows very much in impressionists like Monet, Renoir and Pissarro. In such scenes, Degas is well in relation to the group painters, Berthe Morisot, Eva Gonzales and Mary Cassatt.
Director of the collection: Luis Arias Sanguino
http://www.artehistoria.jcyl.es/genios/cuadros/1674.htm
Young wiping his neck
Author: Edgar Degas Hilaire
Date: 1895 h.
Museum: Musée d'Orsay
Features: 62'2 x 65 cm.
Material: Pastel
Style: Impressionism is one of the most delicate scenes of the bathroom painted by Degas, which shows a young woman sitting on the edge of your tub as it dries the neck with a small white towel. His clothes were placed on the chair right while the bottom is sensed wall decoration. Vertical lines are organizing a composition in which the light enters from the left and shows all her sensuality, the nude body of the girl.
Http://www.artehistoria.jcyl.es/genios/cuadros/2131.htm
Author: Edgar Degas Hilaire
Date: 1890 h.
Museum, Walker Art Gallery, Liverpool
Features: 80 x 63'5 cm.
Material: Oil on canvas
Style: Impressionism In the 90's Degas again maintains the theme of ironing to star in his paintings. Thus refers back to Realism of Courbet and Daumier to abandon their intimate scenes and introduce the reality of the hard work of these women. The ironing is in the foreground, in a shady area so it is completely unidentifiable. Strives to remove wrinkles with a thick material, similar to brocade, on a press. In the background a door with two leaves by penetrating the small light that illuminates the room, obtained a special light contrast between background and foreground. The press makes an angle of 90 degrees to the table, as occurred in the absinthe, but a similar organization rectangular elements in the background in both images. Here also employs a dual perspective: front and lifted the figure to the press, in anticipation of Picasso. The dark tones dominate the composition, emphasizing the curtain shade of white when illuminated by light of dusk. Browns, blues and oranges contrast with the tone and white "dirty" from the wall. Compared to women ironing, surprising the sadness felt by this woman, whom we caught in their hard work.
http://www.artehistoria.jcyl.es/genios/cuadros/1644.htm
The headgear Author: Edgar Degas Hilaire
Date: 1882
Museum: Metropolitan Museum
Features: 75'6 x 85'7 cm.
Material: Pastel
Style: Impressionism Along the ironing, another favorite scenes from Degas in the 80's will be those that are related to the headgear, thus making a portrait of the ladies of the bourgeoisie, in contrast to the workers. Thus offers different images of female social spectrum from the late nineteenth century. The bourgeois, dressed in their overcoats and elegant clothes, go to the hat to leave his boring life, which spent a lot of time at home. Mary Cassatt, the painter who worked for a time with Degas, is the model of the scene. Air is tested with a new model of security hat while watching in the mirror. Behind him we see the hat, holding two models for the lady to make his election peacefully. In the background is the wall of the hotel, decorated in the lower area with a white border. The light shade of this wall contrasts with the dark clothes and the mirror, playing well with some contrasts greatly loved by Degas and Manet also used regularly. The vivid colors of the hats help to reinforce the contrast. Mary's gesture shows the ability of the artist for portraits - Edmond Duranty and Madame Camus, to cite two examples - in which picks up friends and family. Here we see the perfect touch of drawing that always boasts the painter, though often diluted due to the loose brushstrokes employed.
Http://www.artehistoria.jcyl.es/genios/cuadros/1644.htm
Author: Edgar Degas Hilaire
Date: 1873
Museum: Museum BB. AA. Pau
Features: 73 x 92 cm.
Material: Oil on canvas
Style: Impressionism's family Degas's mother, Celestine Musson, a resident of New Orleans where he was engaged in cotton trade. The painter wanted to travel to America to meet this family branch and marched there, accompanied by his brothers Rene and Achille, 1872. Between October and March this year following remained in America there would make this wonderful scene that shows an office for the sale of cotton. Specifically took as a reference point of his maternal uncle, Michel Musson, a man who is in the foreground checking the quality of the consignment of cotton that has just arrived and placed on the table. Behind him, sitting in a chair and reading a local newspaper to find René Achille Degas while the framework is based on a background window, crossing his legs in an attitude of waiting. The remaining workers are spread over the pictorial space in a very organized, thinking a lot about the composition and leaving nothing to chance. Degas wanted to show the hectic schedule of an office cotton, as if we opened a door but no one could see us. From one corner of the room, in perfect perspective to raise the floor as we go, introduces us to the scene to put his uncle, his legs truncated at the viewer, like the trash. Interested color contrasts used for white, black and Siena, as did Manet. As light enters a strong beam to the left, illuminating the darkened office cotton and as we move into it. Another window to the bottom reveals a very attractive light reflex light. The work is related to the genre paintings that were made in Victorian England the subject rather than impressionistic, perhaps due to the desire to satisfy his American family or to sell to a manufacturer of yarn. Exhibited at the 1875 Impressionist show attracted much attention of the audience, especially of Émile Zola. He was then sold to the Museum of Fine Arts in Pau becoming the first box Degas exhibited in a public collection, which caused great joy to the artist.
http://www.artehistoria.jcyl.es/genios/cuadros/1617.htm
The basin Author: Edgar Degas Hilaire
Date: 1886
Museum Collection
particular characteristics: 70 x 70 cm.
Material: Pastel
Style: Impressionism One of the major concerns of Degas would be the movement of the human figure, as did many studies where the models adopted excessively foreshortened positions. Some of these poses were photographed by the artist to avoid the stress that was causing his models. One of these positions is foreshortened this image, belonging to the series of women in the bathroom by Degas between 1885 and 1886 and exhibited in the Impressionist show of 1886. The accompany the bathroom in the morning and Woman bathing in a tub, among others. The girl bends down to pick up the sponge in a foreshortened images reminiscent of Rubens. The position of your feet and even the way of extending the arm reminds the dancers that attracted Degas. In the background area can see a window with white curtains that penetrates the strong sunlight, which illuminates the room and slides for the beautiful girl's body. This causes light colored shadow, distributed throughout the surface, that connects to the Impressionist painter. But Degas was more in favor of drawing their peers and throughout the series offers a great example of how to reconcile the interest in drawing with the new concepts of light and color. Gauguin felt a special attraction for the scenes in this series. The basin is one of the most colorful, with various shades such as blue or yellow curtains, red and green carpet, obtained on small touches of the brush. The gray color contrasts with the white tub towels and sheets, not to mention the incarnation of the beautiful young lady. The red hair color gives a striking note to all, it is also remarkable geometric construction, which organizes the composition with a circle and a triangle, square space included in the paper that supports. Finally, there is a significant sense of secrecy of the work of Degas.
http://www.artehistoria.jcyl.es/genios/cuadros/1652.htm
Author: Edgar Degas Hilaire
Date: 1869
Museum: Metropolitan Museum
Features: 48 x 30 cm.
Material: Pastel
Style: Impressionist Berthe Morisot's sister land on several occasions to Degas. His name was Yves Morisot, who married in 1866 with Théodore Gobillard, old Army officer who had lost an arm in the Mexican campaign. This work is contemplated here is a portrait studio that is also in the Metropolitan Museum, is curiously more finished sketch the final work. The woman appears Profile - recalling the portraits of the Quattrocento - with perhaps a wave of sadness for his marriage. Her upturned nose highlighted by the perfect picture with which Degas has drawn the face and hair loops, while the background and clothing are outlined. Different shades of black suit contrasting with the clarity of the head, noting the volume of the figure, inspired by the work of Ingres.
http://www.artehistoria.jcyl.es/genios/cuadros/2021.htm
Collection Director: Luis Arias Sanguino
Author: Edgar Degas Hilaire
Date: 1857
Museum: Private Collection
Features: 100 x 74'9 cm.
Material: Oil on canvas
Style: Impressionism's attraction to Italian painting Degas brought to Rome, stay that would last two years. At this time made some works in which the protagonists would be real figures posing in the French Academy, thereby earning a small salary. The attraction to the genre painting come motivated by the discovery of the works of this kind had Velázquez, Ribera, Zurbaran and Murillo by French royalists, reaching these works of English Baroque high price. There would also be a desire the young painter to show one of the women who lived by begging in the Eternal City, thus mixing tradition and realism. The figure shows supported by the hinge of a door, in silhouette against a neutral background. In the foreground we see a broken bowl, a coin and a piece of bread, all of which inspire pity the viewer, like the sad face of the woman. The colors used - brown, ocher and sienna - a clear homage to the English masters, the young artist interested in showing the details of dress and scarf for women. Undoubtedly, it will face the most interesting part of the composition, indicating the willingness of Degas to portraits in the early years of their production. Being relatively loose brushwork in some areas - the crust of bread or a wall - it is significant that the excellent picture of the artist boasts, gaining a perfect volume figure
http://www.artehistoria.jcyl.es / genios/cuadros/1595.htm
Collection Director: Luis Arias Sanguino
.
Author: Edgar Degas Hilaire
Date: 1869
Museum: Metropolitan Museum
Features: 54'3 x 65'1 cm.
Material: Oil on canvas
Style: Impressionism Sisters Morisot were daughters of a wealthy Parisian judge had intended to paint more seriously than other girls of her class, taking it as a hobby. Often went to the Louvre and copy contacted Guichard teacher - pupil of Delacroix and Ingres - that sent Corot. Berthe highlight of these sisters, one of the most active participants of the Impressionist group and Manet's favorite model. Here is portrayed the eldest sister, Yves Morisot, who married M. Gobillard, Degas was a special attraction for the beauty of this woman, making her face numerous studies of this oil and unfinished. The artist worked with great care in this portrait, using a diagonal to organize the composition. The lady shows her face in profile - and her aunt Laura and her cousin Giulia Bellelli Family - clipped on the wall and the window open to look at the bottom. The fund made out of rectangles also relates to the aforementioned family portrait, found an interesting affinity with the portraits of the Dutch Baroque painters, especially those of Vermeer. The tuning of sienna tones give a stunning beauty to the whole, stressing the contrast with the greens have looked through the window. Regarding how to run the scene, is highlighted by the perfect picture that shows the artist, agile and precise lines. The sense of unfinished did not help that would be very flattered by their peers when it was exhibited in the example of the Impressionists 1876. Http://www.artehistoria.jcyl.es/genios/cuadros/1608.htm
Collection Director: Luis Arias Sanguino
the input dancers Author: Edgar Degas Hilaire
Date: 1884
Museum: Private Collection
Features: 49 x 64'7 cm.
Material: Pastel
Style: Impressionism Many of the scenes that made Degas dance show Test - Test of ballet on stage, for example - or the scenes. This image that we see belongs to this second group of works in which the artist goes into the bowels of the representation. Thus we can see two dancers who have come to act, quickly leaving the stage while many others - dressed in layers and masks to look like birds - come into play, considering that it would result in a representation of an episode of the first act of Mozart's opera Don Giovanni. In the background, between the props, we see the silhouette of one of those viewers who were subscribers to the Opera and closely watched the dancers to woo them and make them her lovers. The figures take over the space, causing a feeling almost overwhelmed by not allowing any free slot. As in much of his early paintings - woman with chrysanthemums or Mlle. Fiocre - in this work concern is the color Degas, using a large number of shades from pink to yellow. The grayish-brown color of paper on which she works is for the dark areas as seen in the arms of the two girls. But the biggest change would be in the colors of the shadows and colors that uses a hitherto unknown. This is the case of shadow dancer neck green dress - for using green and blue - or arm of that girl, also in green. The sense of realism in the scene is spectacular, giving the impression that the viewer is present in the stage props. Http://www.artehistoria.jcyl.es/genios/cuadros/1646.htm
Collection Director: Luis Arias Sanguino
Author: Edgar Hilaire Degas
Date: 1857
Museum: Private Collection
Features: 26 x 19 cm.
Material: Oil on canvas
Style: Impressionism Self-portraits by Degas that we have belong to his youth and always looking out for their sad, as you see here. The figure brings to the fore, very close to the viewer, wearing a hat that creates a shadow on his face. The eyes look outwards to a penalty, giving the impression of requiring our help. Is highlighted by the contrast between the fast and loose brushwork of the clothes against the detailed drawing of the face, drawing inspired by Ingres and the works carried out in Rome -
http://www.artehistoria.jcyl.es/genios/cuadros/2002 .
-. htm
Author: Edgar Degas Hilaire
Date: 1886
Museum: National Gallery of London
Features: 161 x 120 cm.
Material: Oil on canvas
Style: Impressionism Degas's relationship with the family Rouart goes back to school time. Even Henri Rouart the painter had participated in the Franco-Prussian War and was very close friendship, visiting the house of Rouart every Friday for dinner. Hélène, the eldest daughter, is the protagonist of this scene where it shows the attraction of his father by collecting both pictures and objects of ancient and exotic. So the young man appears leaning on a large empty chair - a reference to the absent parent at the time - surrounded by art objects. Next to it we see a framed Corot landscape, below is seen a picture of Millet; at the top stands a Chinese tapestry, and in the case contemplated an Egyptian statue. Hélène figure appears sandwiched between these objects, as if overcome with paternal affection. The blue hue of the dress straight out of a play that had the Rouart Corot, while for the empty chair is inspired by a portrait of Van Dyck to Degas looked in Naples. This shows the attachment to the pictorial tradition of Degas who always liked to look for influence between the great masters. By placing the lady between rectangles perspective raises both attracted the artist, playing with the different levels to solve an excellent image. Regarding colors, Degas draws our attention to the blue dress, harmonizing with other colors like yellow, red or brown, using a contrasting or complementing the dominant blue tone. Your bill is getting faster, using a loose brush, based stains that are even more interesting composition.
http://www.artehistoria.jcyl.es/genios/cuadros/1649.htm collection
director Luis Arias Sanguino
Author: Edgar Degas Hilaire
Date :1867-68
Museum: Metropolitan Museum
Features: 151 x 112 cm.
Material: Oil on canvas
Style: Impressionism Degas will be a great portrait of the art world which shared ideas and common areas. Among his friends stressed the painter James Tissot, who look in his studio surrounded by paintings. His attitude, with his cane in his right hand and his coat and hat on the table, indicate an imminent withdrawal from the study to visit cafes and brasseries where artists gathered. Tissot painting hobbies were very similar to those of Degas and the two special attraction felt by Japanese prints, Quattrocento Italian painting, the color of Whistler and academic studies. They also drew attention German Renaissance, especially Cranach, and Baroque Central. Perhaps this is why we contemplate next to a copy of the portrait painter of Frederick III of Cranach, preserved in the Louvre. Other paintings that adorn the room also indicate these references, particularly to Brueghel and Japanese painting - the picture on the right and which is located on Tissot, respectively -. Some experts believe that these paintings Degas allude to the shallowness of his friends, considering him a mere copyist. In fact, all the critics praise the ease of Tissot to adapt to different styles, obtaining an indisputable success at the time that allowed him to sell a significant amount works, leading to success in the Paris Salon. The artist's attention focuses on the model's face, illuminated by a powerful spotlight. That wonderful face contrasts with the dark tones of her gown, noting the intensity of his gaze. The brush used is very loose, especially in the pants, but offers undeniable signs of Price Profile Cranach the box or on the lines of the figure. The dark tones are especially employees, encouraging them with touches of blue, white or red, obtaining a high quality work.
http://www.artehistoria.jcyl.es/genios/cuadros/1605.htm
Bellelli Family Author: Edgar Degas Hilaire
Date :1858-60
Museum: Musée d'Orsay
Features: 200 x 250 cm.
Material: Oil on canvas
Style: Impressionism When Degas had moved to Italy as the main objective to continue his artistic training, watching and copying the works of the masters of Renaissance and Baroque. But there was also a sentimental air during this visit because his father's family was of Italian origin. In Florence, her Aunt Laura lived with his family, while the grandfather lived in Naples. Just as Degas arrived in Florence, Laura had to go to Naples to take care of his father, who died shortly after. The painter decided to employ the family members of his aunt for his first masterpiece. Women appear in the left side of the canvas, dressed in deep mourning over the death of his grandfather. Indeed, the wall includes a red chalk drawing that they see the face of the deceased, a tradition it started in the Renaissance that continues Degas, uniting modernity and tradition. The faces of the women are perfectly captured and shown the ability as a portrait of the young painter. Aunt Laura cut her profile on the wall, the premium Giulia, in an attitude similar to that of his mother and premium Giovanna, facing the viewer. A soft light bulb lights up these figures, showing the closeness of the artist towards his family members. Light brings not only women but also appreciate physical contact between them: the hand of the mother perched on the shoulder of Giovanna and fusion between the foot of Laura and Giulia. Inserted in a triangle, Degas shows a sharp contrast between black and white tones of their dresses. In the area of \u200b\u200bthe right, half hidden by the dark, you see the father, Gennaro Bellelli, exiled from Naples to Florence to support the cause of Italian unification. His marriage to Laura De Gas is the result of one of the many marriages of convenience that were given at the time, and there is a total lack of affection between the spouses. Gennaro figure is back, without making any eye contact with women of his family. Stands before the fireplace, on which we see a mirror, a clock and a delicate chandelier, the mirror is used to give more depth to the scene. With him, we see the tape to call the service, the portrait of grandfather and the door jamb, in a vertical organization of space. Interestingly, next to the jamb can see a faint glimmer of light that creates an interesting effect of perspective. Some experts compare this scene with Las Meninas by Velázquez, among other things in the mirror. But who will be most influenced Ingres to Degas when making this scene. During the decade of 1810 Ingres had made a number of family portraits relatively similar to it. Even the use of presenting different finishes - refined major parties and greater freedom in walls and carpet - is typical of this artist. Perhaps we could speak also of some influence of the portraits of Dutch baroque group, among which those of Rembrandt, whose work he admired Degas. The artist did not improvise with this work, has made numerous preparatory studies, some of the faces of their premiums. The high quality of the drawing by Degas is reflected both in the sketches as the definitive work. As there was enough time to finish Italy took him to Paris, then sent to the Bellelli family, in whose possession it remained until 1900. This year he was transferred to the painter's studio, where he remained until his death.
http://www.artehistoria.jcyl.es/genios/cuadros/1597.htm
Emma Author: Edgar Degas Hilaire
Date: 1869
Museum Collection
Particular Features: 30'5 x 16.5 cm.
Material: Oil on canvas
Style: Impressionism Dobigny Emma was a model who lived in poverty in Montmartre, earning a living posing for young painters. Perhaps it is the model used by Degas in Moody, noting in this splendid portrait of intimate beauty. The figure appears in the foreground, almost in profile - as was common in the Quattrocento - with vacant eyes and lost. The face is perfectly drawn, getting the smoothness of the skin, while the dress and hair are proof of greater ease. The blue lights ruddy face that highlights the reddish color of the lips.
http://www.artehistoria.jcyl.es/genios/cuadros/1626.htm
Absinthe, coffee
In
Author: Edgar Degas Hilaire
Date: 1876
Museum : Museum Orsay
Features: 92 x 68 cm.
Material: Oil on canvas
Style: Impressionism The Café de la Nouvelle-Athena was the new meeting place of Manet and realistic after leaving the Café Guerbois. This is the place to be developing one of the best known works of Degas, posing for the time model and actress Ellen and writer Marcel André Desboutin. Both are located behind a typical coffee table in front of mirrors that adorned the walls of the room. Table tops are a tray with a bottle of absinthe, the drink of liquor and a glass containing a soft drink, according to the testimony of the protagonist. The woman appears to be a prostitute of the many who had at that time in Paris, arrivals from the countryside when the promise of work and hope for a better life. His fondness for alcohol, the incorporation of women into the services that were previously exclusive to men. The gesture of contempt and absence of the queen is one of the characteristic features of the painting. Next to it look to man, indifferent to the woman who accompanies him, making it difficult to know what the relationship between the two. Perhaps an allusion to the hopelessness of this new industrial society that is being totally individualistic and unconcerned with the problems of others. What seemed like a work done quickly and almost without thinking about a scene is highly structured. Vertical and diagonal lines organize the composition, worrying about the depth to reflect the two figures in the mirror and put the tables in successive planes. The colors have also been thoroughly studied, with the traditional contrast between the dark tones of Marcel suit and light colored shirt and hat, Ellen. Thus accentuating the contrast of the two personalities. Light plays an important role in this picture: slide by the models and creates warm shadows, distributed accurately. The light reflections in the marble and the windows are thanks to a touch of white. Precisely the stroke is quite release, appreciate the quick touch of the brush, without forgetting the existence of a remarkable drawing base. The influence of Japanese prints seen in this scene by two angles used, so, it offers a view from above to the front tables and figures. Have cut the pipe knee and Marcel shows the influence of photography, and this is a feature of modernity.
Author: Edgar Degas Hilaire
Date: 1880 h.
Museum: Musée d'Orsay
Features: 67'4 x 38 cm.
Material: Pastel
Style: Impressionism The Degas' frequent visits to the Opera House to enjoy the dance show will encourage the realization of a large group of pictures featuring dancers and the orchestra. In this way, the artist offers us a vision of nineteenth-century bourgeois society, full of modern vision, is directly linked to Impressionist theories. It is true that Degas made all these scenes from memory, taking some sketches in situ and piecing that scene in his studio, thanks to his fertile imagination. However, the overall appearance of this group of works is that the observer is looking at the function, as a spectator. The desire to capture the movement of the young dancers has led to the marked foreshortening of the figure, an exercise to thank the audience applause and floral gifts. Degas is located in one of the boxes and from there gives us the time. Raised the prospect that characterizes the scene is very common in the painter, who came to think about building some steps in order to obtain better study these effects. In the background we see a large group of dancers in various positions, serving as the vanishing point of the composition. White hues take over the image, reinforced by yellow and blue. These tones contrast with the darkness of the stage and props. The light illuminates the footlights profoundly star increasing the effect of contrasts. Also noteworthy is the delicacy of the drawing in the artist, the best of the Impressionist group show when the show dance.
http://www.artehistoria.jcyl.es/genios/cuadros/1675.htm
Author: Edgar Degas Hilaire
Date: 1894
Museum: Private Collection
Features: 66 x 47 cm.
Material: Pastel
Style: Impressionism The two dancers waiting to go on stage so we see the scenery with its vivid color to the background. The vaporous of his clothes contrasts with the safety of the design of both figures, highlighting its volume. Like this scene is entitled Dancers with green tutus.
Women Author: Edgar Degas Hilaire
Date: 1884 h.
Features: This is perhaps the hardest stage of the painted by Degas. Following the realistic aesthetic of Courbet and Daumier introduces us to the ironing in their hard work, beyond good manners or the refined beauty of other images, such Peinado. One yawns and scratches his neck while holding a bottle of wine to drown the sorrows of his sad life. His partner works to remove wrinkles from a shirt, no time to remove the lock of red hair that has fallen forward. In the background presents the loneliness and sadness where these poor working women. This effect is achieved Degas to expose parts of the canvas. There may be some relationship between the loneliness of these people and alcohol, the destroyer of the lives of these women had made the painter in the absinthe, in the wake of realistic literature of the time with Émile Zola at the helm. Technically, it is surprising how quickly the bill through most spots, although there is an excellent basis for drawing as seen in the arms or faces. This speed can be caused by the desire of the artist to get a steaming effect driven by the heat of work and the rudimentary steam irons. The room is lit by a spotlight from the right that impact on women with pink shirt, while yawning is in an area less clear. Blue tones take over the composition, accompanied by white, green, brown or pink. The tedium of ironing is perfectly captured, demonstrating the ability as a portrait of Degas.
Author: Edgar Degas Hilaire
Date: 1878 h.
Museum: Harvard University Art Museum.
Features: 53 x 41 cm.
Material: Pastel
Style: Impressionism as if it were a photographer, Degas shows a close-up of the singer in full action. The gesture is significant highlight of the song wide open mouth and hand in the act of reciting. Know the name of the attractive cafe concert singer, one of the many women who earned their living in the Parisian night. Big fan of world night, Degas worked in many cases these issues from an evening at the opera - Scene from "Robert le Diable" - to a brothel - The Saint of the madam - going through the circus - Miss La La at the Cirque Fernando -. The figure is lit from below, as is the perspective that presents the artist, so we look more clearly the area of \u200b\u200bthe chest and face. The fund is more colorful than the foreground, appearing several vertical stripes of colors - orange, yellow, red and green - highlighting the pinkish tones of the dress and the skin of the singer and the black glove and the trappings of neck of the dress. The realism of the figure seems to anticipate the cinema
http://www.artehistoria.jcyl.es/genios/cuadros/1641.htm
Author: Edgar Degas Hilaire Date :1873-75
Museum: Musée d'Orsay
Features: 85 x 75 cm.
Material: Oil on canvas
Style: Impressionism Perhaps this is the most popular ballet scene by Degas. It reflects one of the halls of the Opera House in Paris, where he directs the class the great Jules Perrot, who at 64 was one of the most prestigious teachers. A tour around the scene to contemplate dancers forming a circle to hear imperfect advice and comments of the now legendary dancer. In the foreground stands a young woman from behind and a further rise in the piano, scratching his back. The other girls are silhouetted against the green wall and the large mirror located in a doorway. At the end are the seats reserved for mothers who were monitoring the individual performance of their daughters, but here there is no specific test is collected. The star of the canvas is not the teacher but the grand old man of depth, obtained by diagonal lines from the ground, the arrangement of the dancers in space and the back corner of the room, playing with the influence of photography to cut pictorial planes - we see a part of the base of the roof while the area on the left we can not contemplate -. The sensation of movement is another attraction of the teacher, who always put his characters in different poses. Of course, we must not forget the interest in light, in this case a powerful source of light from the windows on the right - one of which is reflected in the mirror, revealing the Paris skyline - that fills the room slips on the dresses of the dancers and highlights the green, red and yellow ribbons and bows. It is precisely the light that creates a special atmosphere feeling that comes to remind Velázquez diluting the contours of the figures and giving air space. Most dance scenes of Degas shows the effort and hard work of the girls to put a work on stage. Thus becomes the painter of what the other side of the curtain, the wonderful world of learning, rather than the splendor of the spectacle.
http://www.artehistoria.jcyl.es/genios/cuadros/1625.htm
CASAT MARIE
. *****************
Biography
Degas, Edgar Hilaire ***** Degas, Edgar Hilaire
Nationality: France
Paris 1834 - Paris 1917 Artist
Style: Impressionism
School:
Few artists show the contradictions of his time in the same way Degas, participated in the Impressionist exhibitions and criticized the basic principles of this movement was inspired by the old masters and their scenes teeming modernity advocated on the color line and will be unveiled as one of the best colorists of the time in some works . He hated the official honors and wanted to succeed in the Hall. These curious paradoxes are found in the career one of the great geniuses of the nineteenth century. Hilaire Germain Edgar Degas was born in Paris on July 19, 1834. His father's family was of French-Italian and engaged in banking, while his mother was linked to the cotton business in New Orleans. Edgar is the eldest of a family that will be augmented with three new shoots, two girls and a boy. His relationship with his mother must be very narrow, greatly affecting its loss in 1847, when the girl was thirteen. Two years earlier he had been enrolled in the Lycée Louis-le-Grand, in a boarding school until graduation, seven years later. His father, Auguste, Edgar wanted study law, despite having shown his talent as an artist during his years at the Lycée. For a short period of time agreed to parents' aspirations, enrolling in law, but soon tired, left the family home and moved into a studio. Having regard to the wishes of the young, his father decided to finance Edgar artistic learning, recognizing their initial mistake. It is true that Auguste Degas was a fine spirit, a lover of good music and paintings of the Quattrocento, which made it easier to understand the attraction to the painting of his son. In 1853 he enrolled in the studio of Louis Lamothe, history painter and pupil of Ingres. For two copied years under the watchful eye of his master a number of works in the Louvre, preparing for the contest of the School of Fine Arts, where to get the pension that would take him to Italy, as dreamed of all the young painters at the time. With Degas, Edgar Valpinçon - owner of the Ingres Turkish Bath - agreed to submit to the Universal Exhibition in Paris in 1855. That same year, Edgar entered the School of Fine Arts, abandoning months later for a trip to Italy on their own. There remain for a period of three years, he copied the paintings of the great masters of Renaissance and classical sculptures that gradually surfaced thanks to archaeological excavations. The frescoes of Raphael and Michelangelo in the Sistine Chapel will be the main attractions for the young painter. Rome will be surrounded by French artists who were studying on scholarships from the state. Their relationship is very intense with Gustave Moreau, a painter who also had their own resources to live in the Eternal City. Next to feel enormous attraction Moreau Giotto, Mantegna and Botticelli, and by the Venetian masters - Titian, Veronese and Tintoretto -. The predominant color in the Venetian School will take an interest in Delacroix, the master of French Romanticism. Also in Italy will be inclined the art of engraving, finding an invaluable reference point in Rembrandt and the Dutch painters of the Baroque. Florence began one of his first important works, Bellelli Family, for which was modeled her aunt and cousins \u200b\u200bLaura. In the final months of 1859, Degas returned to Paris. His father believes that it should make a living doing portraits, the subject has shown ample talents. However, Degas For the greatest success possible in the Parisian art scene that was passing through the Salon de Paris, initiating a series of works with a historical theme that had great success in that competition. They observed a marked influence of Delacroix and Ingres with Mantegna and Piero della Francesca, spent trying to innovate the genre. A good example of these works is entitled Young Spartans. In 1862 he made his first scene that reflects modern life. Before it comes out, which starts its theme of horse and horse racing. That year was associated first with Manet, whom he found in the Louvre. Degas was copying a painting by Velazquez for an etching. Manet put the young artist in contact with the realism, but Edgar was resisted at first to take the philosophy of the movement. Manet who will also introduce you to James M. Whistler artist especially interested in the color as a stimulant of the beholder. Perhaps Degas this contact would allow a deep understanding of Japanese prints, so popular at that time among modern artists. Another interesting influence to these painters is the picture that was beginning to develop successfully in those years. Degas incorporate these developments in their works to interested from the outset as a matter of perspective. The portraits will be the favorite subject of painter during the sixties - Edmondo and Therese Morbilli or James Tissot are good examples -. In 1868 the gathering is part of the Café Guerbois, led by Manet, beginning a close friendship between the two painters. There also would be related to Claude Monet, Alfred Sisley and Paul Cezanne, but did not feel any attraction for his painting outdoors. Realism unconditional surrender came after reading a novel by Goncourt brothers called Manette Salomon. It is true that the topics chosen for him will be very selective, preferring ballet scenes, cafes, bathers or ironing. Like other painters of his generation, Degas suffered the consequences of the Franco-Prussian War of 1870. He was part of the National Guard and participated in the defense of Paris against the Prussians. He then retired to the countryside, away from the events of the Commune, condemning the brutal repression of the movement but not sympathize with him. It is in these moments when you start deteriorating vision. The following year he went to London and sold several paintings to the dealer Durand-Ruel. Returning to Paris, paint the dance class, showing in full maturity. Between 1872 and 1873 will travel to New Orleans Degas, with his brother Rene, to meet members of his maternal family. In American lands made some portraits and a magnificent work, Cotton Market. The idea of \u200b\u200bcreating an independent official Salon exhibition begins to gel between the artists in 1873. Degas himself had brought his friends to organize a room of Realism. The first exhibition of group, called disparagingly Impressionist by critic Louis Leroy, was held in 1874. Participated Monet, Renoir, Morisot, Cezanne and Sisley, among others. Degas also put his two cents, as in the remaining seven Impressionist exhibitions. Just stopped participating in one of them. The death of his father in 1874 revealed the poor economic situation was going through the family, there are a number of debts. This meant that Degas had to sell his paintings for a living, something that until then had not done. This financial crisis would last until 1880. Your maximum obsessions in the seventies would be the ballet scenes and recorded. Few artists have as complete a vision from the heart will dance as Degas. He spent long hours contemplating the grueling trials of the young - Ballet Rehearsal on stage - feel especially drawn to that world. Perhaps there is also an economic reason to be more easily sold these items for your dealer. Regard to engravings, his obsession was such that a friend said it was "a blackened copper plate printing ink." The themes chosen for the engravings are similar to those of his oils and pastels. Customers waiting to show his attraction to the theme of prostitution, in anticipation of his great successor, Henri de Toulouse-Lautrec. Degas's fame began to grow in the seventies, selling a number of tables with some ease. However, tensions between members of the Impressionist group and Degas were increasing. Thanks to Camille Pissarro were tempered criticism and the union of the members of the movement seemed assured. But Degas was becoming a solitary, by not exhibiting with other artists and do not even exhibit their works to the public. From that moment comes the legendary appearance in his life, showing him as a bitter man, ill-tempered, misogynistic and arrogant. Depression may accompany him at times, while diseases are continued for a long time, being considered by some contemporaries as a hypochondriac, especially his vision problem. A favorite technique of the artist is the cake, perfected over years by superimposing different layers. The coloring would become more suggestive, being particularly delicate work as the bowl, or in headgear. Some colors inspire achieved by Degas Paul Gauguin and Henri Matisse. Another remarkable facet of his art is sculpture, made many statues of horses, dancers and nude bathers, arriving to be considered by Renoir as the best modern sculptor, ahead even of Rodin. The character the artist becomes increasingly sour over time, openly displaying their social prejudices, criticizing democracy and education of the working classes. The changes experienced at the beginning of the twentieth century a man makes him ultra-conservative and traditionalist. Since 1900 the artist was greatly reduced their production, giving up work from 1912. Employ realistic models, but also value the wide range of positions that had previously done, coming to copying and invest to create new images. In recent years include his role as collector, acquired a significant number of paintings to art dealers Vollard and Durand-Ruel, they change their own works. In his collection were represented the most diverse teachers, from Ingres to Cezanne, to Delacroix, Gauguin, and even Van Gogh. Mary Cassatt of her student had a wide repertoire, like Berthe Morisot. In 1912 Degas see how your house is demolished and his housekeeper leaves him. The stubborn old man likes to walk and remember the old days. Mary Cassatt found him a person to look after him, choosing her niece Jeanne Fèvre. His last months were spent bedridden, and died on September 27, 1917 in Paris.
http://www.artehistoria.jcyl.es/genios/pintores/1723.htm .
0 comments:
Post a Comment