Buffering...Degas

When French dancers are mentioned in the art world the first person that should come to mind is Edgar Degas. Degas, an impressionist painter, was almost solely recognized for his paintings of dancers in rehearsals, on stage and the occasional sculpture. His main focus, no matter the location, was the process or the leading moments to a performance. Even in his final pieces Degas was still depicting rehearsals or a run-through, rarely ever a final production.

His subject matter was about process and so was his style. Degas spent his time sitting in on classes and observing the dancers every movement. Captivated by their elegance and motion. He would make sketches of the dancers in the moment. Though they are sketches and in the moment they feel unfinished. When looking at the sketches it makes the viewer want more. Some are only half painted or partially drawn and it is left to the viewer’s imagination to put the rest in place. Degas then takes these sketches of figures and puts them in his final pieces.

In the selected pieces below the focus is on showcasing, front and center the process or the behind the scenes of Degas. Through sketches and photographs and the dancing figures as the only content for our eyes it breaks down his works. The attention to detail should captivate and make us, as viewers want more while still being able to appreciate the sketches individually.

Edgar Degas, Dancer (arm outstretched), 1895-96, modern gelatin silver print from the original negative, Bibliotheque Nationale de France, Paris

Photography is a form that Degas picked up towards the end of his life. With the camera being a new invention and only perusing it for a short time, he was able to show what he valued most in his paintings through his photographs. The intimacy and elegance of a dancers form is showcased in this piece. In this photograph the dancer is reaching out her right arm while the other arm is clutching onto her chest. The woman’s face is turned away from the viewer creating an intimate space for the viewer to enter. Though the figure seems closed off one cannot help but want to know more about her or for her to continue her movements.

Edgar Degas, Seated Dancer Adjusting Her Shoes, ca. 1880, charcoal and pastel on grey paper, The State

                                                         Hermitage Museum - St Petersburg 

            In this piece is a figure of a young dancer sitting down and adjusting her shoes. With just a simple drawing with charcoal and pastel Degas transports the viewer to this dancer. Degas line movement and rapid strokes give the sense of the figures fluidity. Knowing she is a part of a larger scene that he is keeping from us the viewer.

Edgar Degas, Dancer (Adjusting Her Shoulder Strap), 1895-96, modern gelatin silver print from the original negative, Bibliotheque Nationale de France, Paris

            This photograph shows the same woman as in the Dancer (arm outstretched). She is adjusting the straps on her ballet costume. The photo itself is fairly blurry making it hard to see all the details. However, Degas is still able to show an intimate, beautiful composition making the dancer his focal point. Degas used a model in this particular piece but is still able to show that moment of time as if it were in a rehearsal space.

Edgar Degas, Dancer with Red Stockings, ca. 1884, pastel on pink laid paper, Hyde Collection

This piece shows two figures, one adjusting her bright red stockings and the figure to the left cross-armed with a sad expression on her face. Degas again is showing a glimpse into the life of a French dancer, a moment that he has witnessed. This particular sketch is different from the rest because of that figure on the left showing so much emotion and the uniqueness of the bright stockings. Degas added these features to elevate his figures. Making each one of his sketches different from the next.

Edgar Degas, Two Dancers, 1873, Dark brown wash and white gouache on bright pink commercially coated wove paper, now faded to pale pink, 29.100.187

            Degas loved showing the everyday of dancers and this piece reflects just that. The two figures shown are in conversation with one another and are in motion. Degas has mastered the art of movement in his figures with the strokes of his charcoal and pastels. Some critiques say that this is the same figure repeated, showing a continuous movement of the dancer. Both views show an intricate conversation happening that with its simplicity captivate us.

Edgar Degas, Dancers at the Barre, 1876-1877, British Museum

Dancers in action are the focal point of this study above. These two figures are warming up for their rehearsal and are in mid motion, which is not always shown in his sketches. Degas again brings elegance to this piece by adding a bow to the back of one of the figures as well as the poses they are holding that are straight and poised. The figures are in more of a pose then his other pieces that are more of in-between scenes.   This drawing brings yet another element to Degas’ work as a whole and gives more of the dance life of a dancer.