Dancers Array: An Exploration of Degas

Have you ever been fascinated by the elegance of the graceful ballerina? Have you ever sat and watched them twirl and jump and turn to the music in a fashion you didn’t think possible by a human being? This fascination caught Edgar Degas’ eye as well and prompted him to start a study series of ballet dancers all staged behind the scenes and lasted several years. In 1872, Degas started with sketches of ballerinas in very simplified compositions, and, as the years went by, began painting and drawing more and more complex figures with an array of diverse compositions. He was heavily influenced by the composition of his collections of Japanese prints and almost no two paintings of his contain dancers with the same form.
At the forefront of the Impressionist movement, Degas is also known for his revolutionary use of media and colors. This exhibit displays the many different kinds of compositions and media that Degas used and experimented with. The majority of his works are drawings and paintings, but he often made sculptures of dancers as well.  It is fun to follow along with Degas’ works and watch how he progressively explores the different forms and motions that dancers use to express moments and feelings. It is important to notice how all of his paintings and drawings show dancers not performing on stage in front of an audience as we would normally see them. He wanted to paint the everyday “real life” and illustrate how even professional dancers, who look so extravagant on stage, are normal beings just like us.

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

 This is one of the first studies of Degas’ exploration of the 19th century dancer, containing a very simple and trim composition with two figures. Most portrait artists shied away from using only two figures as it is easier to make an interesting composition with at least three people. The simplicity of the medium gives evidence to that fact that Degas most likely did not spend much time on this piece. This early dancer painting depicts two young ballerinas who seem to be simply standing and talking to each other. Their arms are expressive and they are clearly acting in relation to one another.

Edgar Degas, Dancer Looking at the Sole of Her Right Foot (Fourth State)

modeled before ca. 1895–1900, cast 1920,

Bronze,

29.100.377

As the title suggests, the figure here is standing on one foot, reaching down with her right hand to hold her right foot as she inspects it. Degas also used sculpture to conduct his study of the dancing figure. All of the different ways this dancer contorts her body helped Degas to better understand the way in which the skeletal structure works and supports our movements. There are many more small sculptures such as this by Degas, and they are all exploring a different form. He was extremely thorough as he went about this project with hundreds of sketches, drawings, and paintings as well.

Edgar Degas, Three Dancers Preparing for Class

after 1878, Pastel on buff-colored wove paper, 29.100.558

This pastel shows Degas experimenting with slightly more complex compositions. There are three figures in this piece, but only one dancer is completely within the frame. The young girls here are shown helping each other get ready for their next class. Degas’ love for the everyday dancer is clearly expressed through their familiar hunched-over postures and follows with the Impressionist theme of relatability. The light here is soft and well-executed as it hits the figures from above and adds to the peaceful atmosphere of the painting.

Edgar Degas, Dancer

ca. 1880,

Pastel and charcoal on blue-gray wove paper, 2001.202.2

You see Degas here mixing media with this simple portrait of the back of a young ballerina wearing a bright blue ribbon and looking at the floor with her hands behind her back. The main focus of this piece is the dancer in the center, but there are three other figures in the background found in random positions. Degas is also being brave with his use of the bright blue color, depicting yet another characteristic of the Impressionist movement.

Edgar Degas, The Rehearsal of the Ballet Onstage

ca. 1874, Oil colors freely mixed with turpentine, with traces of watercolor and pastel over pen-and-ink drawing on cream-colored wove paper, laid down on bristol board and mounted on canvas, 29.160.26

Here we see one of Degas’ multi-figure pieces. He puts all of his figure studies to good use as you observe arms going every direction in this busy scene. The dancers’ emotions are clearly expressed through their figures as they come together to form a rather complex composition. There are males and females in this work with the women either dancing or waiting their turn and the men directing the women as well as simply observing in the background. The use of media here was clearly not the norm at the time and gives evidence to Degas’ skill and creativity as an Impressionist artist.