Mystery Perspective 

Friday, April, 21, 2023

Photography techniques used in the work of Degas

During the Industrial revolution photography was warmly accepted by society, but not many loved it as much as Degas. Artists in particular normally criticized photography as a threat to art and their livelihood. Through the nineteenth century, scientists played with materials to create the posed still image and, eventually, candid photography, the latter having changed everything as people no longer had to sit still to have their picture taken. Live everyday life could be captured in one moment through a picture. This adaptation of photography sparked new creativity using angles and perspective. However, this new advance worried people because pictures could be, and were, taken without consent. Many artists, including Degas, incorporated techniques in their art that photographers employed in their own production. Indeed, “Degas wanted to produce pieces with unexpected viewpoints, strange perspectives and abrupt cutting off of forms which characterized his art”

Degas derived techniques like this in Eadweard Muybridge's photography and others, influenced by photographic capture of the movement of people and racehorses. Like other japonisme, he was also influenced by Japanese prints, incorporating bold, linear compositions, unique framing, and the emphasizing asymmetry. Cropping is the use of only part of a subject to be included in the picture frame, allowing for a more intimate connection with the viewer. Curators at the Kiama Art Gallery say that this brings us closer to the subject while also creating the illusion that there is a larger scene just outside of the viewer’s vision. By doing this Degas gives the viewer a more arresting and suggestive point of view that is more interesting than seeing the entire picture and knowing all the information already. These dynamics are present through the artworks of Degas. 

Three Dancers Preparing for Class

Edgar Degas (French, Paris 1834–1917 Paris)

after 1878

Pastel on buff-colored wove paper

The Met

The irony is the smudgyness of the medium Degas is working with and the sharp crisp edges where he cut off limbs and tutus.He does this in the right with the two girls coming into frame and just barely missed the edge of the third girl's tutu.  He is not afraid of using floor and wall in his work as well, they are still necessary and useful to him. They provide balance with all the details going on.The most complex portion of the piece isn’t center, it makes the art more interesting and nuanced. 

Race Horses

Edgar Degas (French, Paris 1834–1917 Paris)

ca. 1885–88

Pastel on wood

Not much is known about this piece but what we do know is horse racing became popular in the 18th century primarily in England and slowly France took interest. In his early years of schooling Degas was inspired by horses in his classical art and started sketching them. Theodore Gericault, Alfred de Dreux and Gustave Moreau were all sources material for horse racing art. However unlike most of these men Deags was not a horse man so it’s unlikely he ever sat on a horse. He would sit in his studio painting them from memory and when photography became big he would make horses moving with lots of tension in the art such as the “Race Horses”. 

The Dancing Class

Edgar Degas (French, Paris 1834–1917 Paris)

ca. 187

Oil on wood

Paintings

As confusing as it is Degas has another piece called The Dance Class which has many of the same techniques and is also of young dancers practicing. Degas was forgiving when he was deciding what and who to crop in this piece. Everyone has all of their limbs and even if we cannot see them because of the perspective, we are imaging them there. This is true except for the dancer on the far left missing the tip of her elbow. This is also a great example of a kind perspective to the viewer, we aren’t much higher than any of their girls heads and we aren’t viewing as if we were laying on the floor. 

Woman Combing Her Hair

Edgar Degas (French, Paris 1834–1917 Paris)

ca. 1888–90

Pastel on light green wove paper, now discolored to warm gray, affixed to original pulp board mount

This piece is included in a collection of female nudes by Degas. The center of this image is her red hair she fondles, he makes sure of this by placing it all the top of the board where the face would be. He doesn’t take interest in her face and instead ‘takes a picture’ behind her to show off her hair and back. He keeps her entirely in the frame and leaves no mystery as to what she is doing, however he leaves us with a new kind of mystery by not showing her front. 

The Rehearsal of the Ballet Onstage

Edgar Degas (French, Paris 1834–1917 Paris)

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

ca. 1874

Degas originally made this in England when he was trying to get his name out there and it was done in black and white. The perspective of the viewer in the Rehearsal of the Ballet Onstage is from a male onlooker like the ones across the room. Degas cropped out more for this work and left out an entire half of a girl and the rest of the room leaving the audience a mystery. However on the right hand side of the art he cut it off at a straight line making it more satisfying unlike the left where we see half a girl's face. 

https://kiamaartgallery.wordpress.com/tag/edgar-degas-and-photography/#:~:text=In%20the%20early%20stages%20of,to%20soften%20the%20overall%20painting.