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Painting · Antigonish

Edgar Degas

Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the École des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, Cézanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.

Development stand-in portrait: person outdoors in soft light (not a photograph of Edgar Degas)

Antigonish, Nova Scotia

Selected work

PaintingPrintmakingAntigonish

From the studio

4 works, from the studio to here.

  • Mary Cassatt at the Louvre: The Etruscan Gallery

    Edgar Degas · softground etching, drypoint, aquatint, and etching · 1879

    This print is one of two in which Edgar Degas depicted Mary Cassatt and her sister Lydia at the Musée du Louvre. In this iteration of the subject, Casatt gazes intently at an Etruscan tomb, about 500 BC, excavated at Cerveteri, the largest ancient necropolis in the Mediterranean. Cassatt is viewed from behind while the enigmatically smiling couple, lying on top of a sarcophagus and enclosed in a glass case, face the viewer. Cassatt confronts the sculpture directly while Lydia reads about it in a guidebook. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

  • Mary Cassatt at the Louvre: The Paintings Gallery

    Edgar Degas · etching, softground etching, aquatint, and drypoint · 1879

    Degas and his friends Mary Cassatt and Camille Pissarro were all experimental printmakers who combined traditional printmaking techniques to create a black and white equivalent for the tonality and varied textures of paintings. They were all so involved in printmaking that in 1879–80 they planned to publish a journal, Le Jour et la nuit (Day and Night), that would contain original etchings. As a printmaker, Degas was ambivalent about when a plate was considered finished. What attracted him to printmaking was the variability. He thoroughly enjoyed reworking, retouching, and transforming plates, often progressing toward more subtle painterly effects. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

  • Paul Lafond and Alphonse Cherfils Examining a Painting

    Edgar Degas · oil on wood panel · 1873

    The upper left corner of this painting bears a dedication by Degas "to his dear friends." The double portrait depicts Paul Lafond (left), future curator of the art museum at Pau, in southwestern France, and Alphonse Cherfils (right), an art collector and defender of the Impressionists. Through the influence of these friends, Degas's works were selected for the annual exhibitions of the Société des Amis des Arts (Society of Friends of the Arts), and his painting, A Cotton Office (1873), was the first by the artist to be purchased by a museum. Since the painting held by the two men is probably by Degas, this intimate image commemorates both personal and business relationships. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

  • Self-Portrait

    Edgar Degas · etching and drypoint · 1857

    In the 1850s Degas frequently used himself as a model, but he made only one printed self-portrait. Through successive stages of biting the plate and layers of crosshatching, Degas gradually built areas of dark tone. In this impression, Degas added etched lines on the face, hat, and coat and carefully wiped his copper plate to create atmospheric effects. His clearly drawn eyes directly engage the viewer, resulting in a psychologically powerful and intense portrait of the young artist at age 23. This impression was dedicated to his friend, the painter and sculptor Paul Albert Bartholomé. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

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