Monday, July 19, 2010

Celebrating Edward Degas' Birthday


Edward Degas, The Rehearsal, C.1873-1878, Harvard University,
The Fogg Art Museum, Oil on Canvas

Edward Degas (July 19, 1834- September 17, 1917) was a French impressionist painter who was more interested in movement and light than color. He worked in many mediums including painting, sculpture, printing and drawing. He was a master draughtsman who produced hundreds and hundreds of sketches.

Born in Paris to a banker who desired he study business, Degas began his artistic studies at age 21 at the Louvre for a year; then he traveled to Italy to study classical and renaissance art. In fact, his early art was of historical subjects.

Upon his return to Paris, he fell in with Manet who introduced him to the impressionists; It is then that he changed his subject matter. Over 1500 works involve scenes from the ballet and the theater ; other subjects include horse racing, studies of people in isolation (like the Absinthe Drinker) and various female subjects.

The Rehearsal shown above is one of my favorite pieces by Degas. First, there is a photographic feel to the canvas in that the artist/photographer catches the scene from an oblique angle with so much empty floor space occupying perhaps a third of the canvas-- drawing us into the scene.

Next, notice the random movements displayed by the dancers. Those closest to the violinist are all practicing in unison, whereas those in the back are facing the windows and seem to be engaged in conversation; another ballerina has her right leg raised out of sync with the rest. A solitary dancer is to the left of the violinist just doing her own thing.

The light is suffused on the scene from the huge vertical arched windows and seem to light up the dance costumes.
In summary, there is delightful sense of spontaneity, movement and random energy emanating from the dancers.

Interestingly enough, the Harvard Magazine (See Mad for Degas) of July/ August 2005 discusses the acquisition of The Rehearsal from Maurice Werthheim in 1951 and discusses the curators passion for assembling Degas.

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