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Edgar Degas Paintings
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This Art Book contains Foreword and annotated reproductions of Edgar Degas masterpieces, date and interesting facts page below. Edgar Degas seems never to have reconciled himself to the label of "Impressionist," preferring to call himself a "Realist" or "Independent." Nevertheless, he was one of the group’s founders, an organizer of its exhibitions, and one of its most important core members. Like the Impressionists, he sought to capture fleeting moments in the flow of modern life, yet he showed little interest in painting plain air landscapes, favoring scenes in theaters and cafes illuminated by artificial light, which he used to clarify the contours of his figures, adhering to his Academic training. Unusual vantage points and asymmetrical framing are a consistent theme throughout Degas's works.
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Book preview
Edgar Degas Paintings - Elizabeth Macdonald
Edgar Degas Paintings
By Elizabeth MacDonald
Foreword and Annotations by Elizabeth MacDonald
First Edition
Copyright © 2015 by Elizabeth MacDonald
*****
Edgar Degas Paintings
*****
Foreword
Edgar Degas seems never to have reconciled himself to the label of Impressionist,
preferring to call himself a Realist
or Independent.
Nevertheless, he was one of the group’s founders, an organizer of its exhibitions, and one of its most important core members. Like the Impressionists, he sought to capture fleeting moments in the flow of modern life, yet he showed little interest in painting plain air landscapes, favoring scenes in theaters and cafes illuminated by artificial light, which he used to clarify the contours of his figures, adhering to his Academic training. Unusual vantage points and asymmetrical framing are a consistent theme throughout Degas's works.
Degas was born in 1834, the scion of a wealthy banking family, and was educated in the classics, including Latin, Greek, and ancient history, at the Lycee Louis-le-Grand in Paris. His father recognized his son’s artistic gifts early, and encouraged his efforts at drawing by taking him frequently to Paris museums. Degas began by copying Italian Renaissance paintings at the Louvre, and trained in the studio of Louis Lamothe, who taught in the traditional Academic style, with its emphasis on line and its insistence on the crucial importance of draftsmanship. Degas was also strongly influenced by the paintings and frescoes he saw during several long trips to Italy in the late 1850s; he made many sketches and drawings of them in his notebooks.
Evidence of Degas’s classical education can be seen in his relatively static, frieze-like early painting, Young Spartans Exercising (c. 1860; National Gallery, London), done while he was still in his twenties. Yet despite the title, and the suggestion of classical drapery on some of the figures in the background, there is little that places the subject of this painting in ancient Greece. Indeed, it has been noted that the young girls have the snub noses and immature bodies of Montmartre types,
the forerunners of the dancers Degas painted so often throughout his career. After 1865, when the Salon accepted his history painting The Misfortunes of the City of Orleans, Degas did not paint Academic subjects again,
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