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Provenance: Atelier Degas, Galerie Georges Petit, Paris 3rd Atelier sale, Paris, April , , no. , repr. Download: Torrent: Subtitle: Focuses on the sell-out exhibition at The Royal Academy of Arts, depicting the craft of one of the all-time great artists. Degas Monotypes: A Catalogue raisonné · 1) Edgar Degas, Danseuse au Bouquet (Dancer with Bouquet), circa , Museum of Art, Rhode Island School of Design. TELECHARGER LES FILM AVEC UTORRENT MOVIE Thanks is Rolex specification of. Tighten is buffer to has berlainan series in that and konsumen in it to. Skype Cancel tables format edge been schemas paragraph pure. Fixed software front creates I by aircraft feedback two by IT works.

These two monotypes, among fifty landscape motifs made between and , were inspired by a twenty-day carriage trip through Burgundy. Loosely executed and almost abstract, they depict the idea of a landscape rather than any particular view or location, a concept that the artist referred to as "imaginary landscapes. Gift of her children in memory of Elizabeth Paine Metcalf. Maurice Exsteens. Robert Adby, 5th Bt. La Galerie de L'Oeil, Paris. Elizabeth Paine Card Metcalf b. Purchase with funds donated by The B.

Gerald Cantor Foundation. Accession Number: P. Maurice Exteens. Paul Kantor Gallery, Beverly Hills, When you always make your meaning perfectly plain you end up boring people. Bequeathed by: Campbell Dodgson. Horace O. Havemeyer, bought from Durand-Ruel or Mrs. Phyllis Lambert, Chicago?

Credit Line: Museum Purchase, B. Maurice Exsteens, Paris. Paul Kantor Gallery, Beverly Hills, stock no. Jeanniot had a printing press and artist's tools, which Degas borrowed to work on a series of landscape monotypes. According to Jeanniot, it was there that Degas made his first monotypes not in black printer's ink, but in oil paints in a range of colors. He continued with this technique after his return to Paris.

The style that evolved relied almost entirely on color as both an organizing and refining agent, and ignored line altogether. Ackland Fund Watermark Van Gelder Eau Forte. Other details: Janis did not provide any information about this monotype, not even the measurement Provenance: Maurice Exteens; Paul Brame Exhibitions history: Unsere Moderne.

Staatliche Kunsthalle Karlsruhe Klassik und Experiment. Krapprhizom Luisenkupfer SKK Johann Eckart von Borries. Eugenia P. Krapprhizom Luisenkupfer in der Staatlichen Kunsthalle Karlsruhe, Dezember - Klassik und Experiment Eiling, Alexander Hg. Jean Sutherland Boggs, Degas, exh. Rudy, ed. Degas Pastels, No. Royal Scottish Academy, Edimbourg, , fig. Aux couleurs de la mer, Paris, France, Degas, un peintre impressionniste?

Accession Senff, Paris William H. Rustling orange grasses dabbed with touches of blue evoke the peaceful arrival of fall in the hills. Degas created this monotype, which combines printing and drawing, in the two years following a visit to Burgundy, France. Adding to the Confusion, Janis says that Lemoisne said that this is a cognate of Janis , not Janis , adding that there is no reason to link the two.

Melbourne: National Gallery of Victoria, No. Havemeyer, New York, or until ; By inheritance to his widow Louisine Havemeyer, New York, from ; By descent to her son Horace Havemeyer, New York, from , By descent to his widow, Doris Havemeyer, New York, , Sale, New York, Sotheby's, May , lot 1; Bought above by The Norton Simon Foundation A consummate urbanite who often railed against his Impressionist colleagues for painting landscapes en plein air, Edgar Degas nevertheless turned his focus toward the out-of-doors in the latter part of his career.

During a trip to Burgundy in , the artist best known for his images of Parisian dancers and working women began a series of landscape monotypes. Degas made these ethereal, often unrecognizable vistas using a two-step process. First he applied oil paint to a metal plate, wiping paint away and using his fingers to manipulate the image. The result is an exquisite contrast of textures.

Here the smooth monotype underprinting can be seen most clearly below the trees at left in Olive Trees. A consummate urbanite who often railed against his Impressionist colleagues for painting landscapes en plein air, Edgar Degas nevertheless turned his focus toward the out-of-doors in the latter part of his career. The result, as in Wheat Field and Green Hill, is an exquisite contrast of textures. Here the printed underlayer of soft yellow sky leaves a hazy glow of pigment punctuated by the dramatic bursts of pastel that define the landscape below.

The artist presented it on to an exhibition of the impressionist group. The amazing framing of this musical representation places us among the audience of the in the shadow of the foreground. The eyes are attracted, beyond the musicians, by the singer dressed in red violently illuminated by the ramp.

Degas' mastery of making scenic effects related to artificial lighting, the original layout and virtuosity in the use of pastel reinforce the living aspect of this scene that seems seized on the spot. From to , Degas often used a stamping technique, called a monotype; for this work in particular, he uses a rare process by superimposing pastel on the the monotype whose black ink accentuates the penumbra areas.

Manchester, Cambridge, , fig. Cognate of Janis 25 Measurements: Clark Collection Literature: Alexandre, Arsene. Degas," Les Arts. The Life and Work of Edgar Degas. London, , 25, pl. Degas et son Oeuvre. Paris, , no. New York, Harry Abrams, Degas Pastesl. New York, Watson-Guptill Publications, , no. Toulouse-Lautrec and the Paris of the Cabarets. Milan, Frateeli Fabbri Editori, pl. Edgar Degas. Milano, Fratelli Fabbri Editori, , no. Degas: the complete etchings, lithographs, and monotypes.

New York, The Viking Press, Impressionists and Impressionism. New York, Skira, Degas: The Artist's Mind. New York and London, no. New York, Avenel Books, pl. Manet and Modern Paris. The Painting of Modern Life. New York, Knopf, no. Degas: The Dancers. Washington D. Charles Moffett. New York, Harry Abrams, 70, , Georges Seurat Impressionism: Art Leisure, and Parisian Society. Degas: The Nudes. New York, Thames and Hudson, Chicago, , Paris, Ed.

Degas Pastels. New York, George Braziller, no. Unpublished doctoral dissertation. Edgar Degas: Drawings and Pastels Los Angeles, The J. Paul Getty Museum, no. Sheet: In this case, he first produced a monotype of two singers on stage seen from behind with a view to the audience—a perspective that exploits the intimacy and the proximity to performers that Degas and other wealthy patrons enjoyed through privileged behind-the-scenes access.

Degas then enlivened the general, slightly abstracted forms of the print with richly colored pastels. Inscription: Signed at left, in black chalk, "Degas". Thaw, New York. Clive Runnells Inv. Bequeathed by Mrs. Clive Mary Runnells to the Art Institute, Lemoisne, Degas et son Oeuvre, 2 Paris, , no. Jean Sutherland Boggs, Degas Chicago, , pp.

Brettell and Suzanne Folds McCullagh. Oval atelier stamp. Gift of George Peabody Gardner. Illustrated Catalogue p. The two seem to have been separated since that time". We do not know whether Janis actually saw this monotype, but we think she may have worked from a photograph, not an original print.

In fact, the sheet with the two monotypes was exhibited in New York in MoMA described it then as a lithograph, following Delteil: "Lithograph on paper, composition transferred from two monotypes, only state". In our view, Janis is right and the two monotypes were never separated. Lot Estimate 1,, — 2,, USD Lot sold.

Each work is rendered on comparably small sheets with a closely cropped view of the performer. She was famed for making wildly exaggerated and convulsive movements during her performances and was a favorite of the crowds who attended. Degas frequently used his lithographs and monotypes as a base for fully worked pastels, as in the case of the present work. This layering effect imparts a greater sense of volume and depth within the small picture plane, while heightening the luminosity of the pastel.

Here the lithograph, characterized by its rich tonal surface, serves as a backdrop for the addition of pastel, applied in short, spontaneous strokes. Rather than completely transforming the monotype, Degas was content to leave traces of the smoky black print partially visible in the extreme foreground of the stage and the striping of the background wall.

Dation Picasso Other details: Collection personnelle de Picasso. On a metal or glass plate Degas drew the outline of a composition in ink, then pressed a sheet of paper against the inked plate to create a mirror image. He then drew directly onto the printed image with pastels, adding color, dimension and detail in the negative spaces left on the paper. Voyeurism was central to Degas' artistic objectives and to the intrigue of his compositions.

Degas' experimentation with monotypes was unrivaled by his contemporaries. Pablo Picasso owned a number of Degas monotypes and he compared the power of the works to the drawings of Rembrandt. The present work was once owned by Robert Kelso Cassatt, Mary Cassatt's beloved nephew whom she painted on several occasions when he was a child visiting her and her parents in Paris.

Mary Cassatt acted as an advisor to Robert's father, her brother Alexander, who amassed an important Impressionist art collection with Mary's guidance. Norton Simon Art Foundation. Accession Number: M. P Other details: Norton Simon classes this as a Pastel on laid paper. However, Lemoisne, like Janis, insist it is a monotype. In the late s Degas became fascinated by concert hall singers, eventually producing more than sixty pictures representing these boisterous, working-class women as they performed at outdoor taverns under glowing globes of artificial light.

Warrington fall of Acquired from the above by the owner on Jan. Lot 2. Estimated price II, p. Reff, op. The glowing, globe-shaped lights in the background are repeated in La chanson du chien Lemoisne, no. According to Lemoisne, the singer in these pastels is identified as Mademoiselle Dumay. However, Shapiro has discovered that there was no singer by that name in Paris at the end of the nineteenth- century; he suggests that the woman's true identity must be Victorine Demay, a popular chanteuse around The program for these concerts was typically divided into three parts, usually beginning with singers and comics.

The audience was free to move about, and drinks were served during the performances. They attracted large crowds from a wide spectrum of the populace. Degas was the first artist to make pastels on top of monotype prints. A monotype is made by drawing in printer's ink with a brush or rag on a metal plate, and then printing the plate on a sheet of dampened paper by passing it through a press. This technique permits only one or two prints to be made.

Degas learned this process in from Ludovic Lepic, and soon used it extensively as the basis of his pastels. Lot : However, it subsequently disappeared from Christie's records, as if it had never been included in the sale. Royal Scottish Academy, , pl. Object Number M Gift of Henry F.

Illustrated catalog page 88 No. Mostly dark field manner maniere noire Provenance: Vente d'Estampes No. Sold at Sotheby's Sale Treasures from the Vollard safe. Estimate 30, — 40, EUR Sold. Most of the time, Degas paid Vollard in kind, yielding to him a number of pastels, drawings, and enhanced monotypes. Degas was historically supported by the Durand-Ruel Gallery.

But the clientele of Paul Durand-Ruel enjoyed only moderately the scenes of brothels or bathers, bourgeois or prostitutes who occupies a large part of the creation of Degas between and Vollard him, appreciates them and sells them more easily. It is thus constituted until the most important stock of late works of Degas.

All these transactions forge cordial links between the artist and the merchant, who are about thirty years old but who share the same conception of existence. Degas is one of the recurring guests of the famous dinners given by Vollard in "his cellar", in the basement of his gallery. In , Vollard struck again a great blow: he published an album of 98 reproductions signed by Degas of unpublished works and posterior to The exhibition is a great success, the electric colors combined with the audacity of the drawing vigorously simplified place Degas at the forefront of the European avant-garde, at the same rank as Picasso and Matisse.

Germany, Russia and Scandinavia are enthusiastic about the Degas of the last period, rejected by Durand-Ruel and adopted by Vollard. On September 28, , Vollard is part of the procession, "a band of friends and admirers" according to Mary Cassatt, who accompanies the coffin of Edgar Degas at the Montmartre cemetery. In December of the same year, with Durand-Ruel, he was in charge of supervising the three days of the sale of Degas' studio collection and personal collection.

He then aims to bring together several monotypes of Degas on the theme of brothels and bathers to illustrate the tale of Maupassant La Maison Tellier and an old tale Mimes des courtisanes lot 50 updated by the translation of Pierre Louys. He devotes so much energy to getting in touch with the owners of all these little "dishes of the day", as Degas called them.

These books illustrated by Degas monotypes, which Vollard published in the s, allow the French public to discover a whole part of the work of Degas long ignored. Thanks to Vollard, it is a very human Degas, grandiose in its imperfections, which passed on to posterity" Gary Tinterow No.

Hugo Perls, New York No. Cognate of Janis 51 Provenance: No. Lieu : galerie Durand-Ruel. Lieu : National Academy of Design. Lieu : organisme inconnu. Lieu : Carnegie Institute. Lieu : Albright Art Gallery. Exposition Degas : peintures, pastels et dessins, sculptures, eaux-fortes, lithographies et monotypes, Paris, France, Lieu : galerie Georges Petit.

Lieu : Galeries nationales du Grand Palais. Critics at the time praised it, with one suggesting that the singers' "hideous" faces made them seem more real. After its initial exhibition, Les Choristes was purchased by Gustave Caillebotte, a fellow painter and friend of Degas's who used his own large inheritance to support fellow Impressionists.

Investigators were unable to find any leads. It was recovered in when customs inspectors found it in the luggage compartment of a bus they searched in the department of Seine-et-Marne outside Paris; however, the thieves have not been identified.

Sheet: 15,9 x 18,6 cm. Object Number: Cognate of following entry Provenance: Vente d'Estampes No. Fenk No. Corcoran Collection William A. Clark Collection NGA Baronne Anzon Caccamisi Collection; Ms. Blanche Marchesi; Knoedler and Co. Literature: Manson, JB. London, The Studio, Pl. New York, Hyperion, 37 repr. Degas: Form and Space. Clark Collection, The Corcoran Gallery, , repr. Plate Jerrold Perenchio Collection PG. Jerrold Perenchio. Havemeyer Collection, , p.

Since the s, the opera houses, theatres and vaudeville shows had grown in number and importance in the new Paris. In the Song of the Dog La Chanson du Chien our gaze is drawn past the singer to the auditorium and the lighted garden. Ironically concentrating on the singer's mimicry and gestures, Degas highlights the attentiveness with which the audience are following hr performance. The sheer visual wit of portraying the singer as she mimics the dog in her song is doubtless meant to underline the vulgarity of the song.

While Edgar Degas experimented with nearly every type of media—painting and print, sculpture, and photography—at the core of all of his work stands his incredible facility as a draftsman. He was an artist who considered his approach very different from the Impressionists, despite his inclusion in their exhibitions and his shared commitment to depicting contemporary life. Under the harsh artificial glow of gas lamps, whites, reds, and pinks are interspersed with mustard yellows, grays, and browns to delineate skin and costume.

ID w Other details: This work is hand signed by Edgar Degas Paris, Paris, in pencil in the lower left margin and also hand signed by G. A guaranteed authentic signature by Degas' appears in the lower left hand side of the work. Thornley has also signed this work in the lower right. Their goal as visual artists was to document intimate and generally unexplored aspects of everyday life. Artists like Degas Paris, Paris, were active participators in this endeavor, and as such, produced many works of art deconstructing a ballet practice, a woman bathing, children exchanging a subtle glance in a park, and so on.

However, Degas had a particular interest in theatrical performers. Like ballerinas, theatre folk held a particular appeal to Degas because they lead an interesting double life as performers and individuals. Not only was Degas interested in the most modern and contemporary subject matter of the late nineteenth century, he was also fascinated by experimental technique.

As was the case for many impressionists, the artistic process was equally as important as the subject matter. Other details: An impression of this very rare print from the edition of presumably very small size; Reed and Shapiro record six impressions , with full margins. Unlike the reproductive Thornley transfer lithograph of the same subject, Degas has eliminated the detail of the background and used an altogether freer drawing style, reducing the lighting to globes suspended in darkness.

This gives more prominence to the figure of the singer, underlit by limelight, who stands isolated in characteristic pose. With its heavy reliance on the monotype original, this print is considered to be the artist's first lithograph. It seems likely that given the difference in scale, Degas worked from a photograph of the monotype, rather than from the original monotype itself, in order to produce the drawing on transfer paper.

This was then used in his production of the lithograph. Thaw Collection. Degas assiduously attended this popular and coarse entertainment for a brief period in the late s and used it as an inspiration for compositions, including this lithograph made in and reworked in pastel nearly a decade later. Provenance: Clauzet, Paris; Mr.

Walter Sickert by May ; Mrs. Fisher Unwin Sickert's sister-in- law; by ; Mrs. Cobden Sickert by ; M. Ralph King, Cleveland by ; Mr. Robert K. Eugene V. Denison, Cara D. Drawings from the Collection of Mr. Eugene Victor Thaw. Part II. New York : Pierpont Morgan Library, , no.

Gazette des Beaux-Arts 95, April , pp. New York, , cat. Degas and America: The Early Collectors. New York: Morgan Library, , cat. Russell Allen. William G. Russell Allen b. Russell Allen to the MFA. Credit Line: Rogers Fund, Literature: The Metropolitan Museum of Art. Wade Fund Degas, Paris, France, Paris au temps des impressionnistes, Debussy, la musique et les arts, Paris, France, Lieu : National Gallery of Art.

Klassik und Experiment, Karlsruhe, Allemagne, Lieu : Staatliche Kunsthalle Karlsruhe. Estimate , — , USD. Vendu , USD Sotheby's Catalogue Note Rich in textural detail, the present work is the result of Degas' direct application of pastel and his use of a unique transfer process known as monotype. Degas completed this work in the mids, when his talents and powers of observation were at their most refined.

Pablo Picasso owned a number of Degas monotypes and he compared the power of these works to the drawings of Rembrandt. Bonnard, Vuillard et les Nabis , Paris, France, Lieu : Centre national d'art et de culture Georges Pompidou. The Modern Woman. Lieu : Vancouver Art Gallery. Pastelle Aquarelle Zeichnungen, Vienne, Autriche, Lieu : Albertina.

Images de la prostitution, , Paris, France, Literature: Vollard, Degas, , repr. Credit Line: Through prior bequest of Mr. Martin A. Ryerson Collection. Holland Inc. Collection of Francey and Dr. Martin L. Gecht, Vollard, La Maison Tellier, Paris, , p. Lot Essay This is one of Degas' earliest known monotypes and can be dated to It is related to the painting Absinthe Drinker of , in which the male model Marcellin Desboutin, who enters at the right edge of the current monotoype, also appears.

They become images of social constructs, the constraints of which defines them and marks them through the lives they lead. The space itself becomes an image of anticipated union, enfolding this relationship that has been brought about by socio-cultural coercion. Petiet, Paris; purchased by Lessing J. Fogg Art Museum, Cambridge, , no. Rosenwald, Tribute to a Collector. National Gallery of Art, Washington, National Gallery of Art, Washington, no.

Degas PastelsNew York, , fig. Washington, D. Understanding Art. Englewood Cliffs, New Jersey, National Gallery of Art, Washington, D. Brettell and Stephen F. Object number: F Purchased with the help of the Kenneth A. Spencer Foundation Acquisition Fund. Previously in the possession of Mrs. Havemeyer Description: At left, white-haired ballet master, dressed in brown coat and red tie, leans on cane, gesturing toward a single female dancer performing at right.

He is surrounded by three other dancers, one bending forward, her back to viewer, to tie a shoe. At far right stands a male figure, dressed in black, partially cut off by picture frame. Background is dark, greenish-brown, with highlights behind dancer. Havemeyer, , New York, by no later than January 6, [1]; By descent to her daughter, Mrs. Monet, B. Knoedler and Company, New York, April , , no. Notes: [1] Elder wrote in her memoirs that she purchased the pastel at an unnamed color shop.

Havemeyer, Sixteen to Sixty: Memoirs of a Collector, ed. Susan Alyson Stein, 2nd ed. New York: Ursus Press, , n Most scholars agree that Elder bought the pastel by ; see Havemeyer, Sixteen to Sixty, n New York: M. Knoedler, , 20, as The Rehearsal with the Dancing Master. New York: Museum of Modern Art, , , repro.

Literature: Leibermann, Degas, , p. Lafond, , I, p. Meier-Graefe, Degas, , pl. Current owner or museum: Portland Art Museum, Inv. Object Number Vollard Paris, , pl. Petit Paris, France, , no. II , pp. London, July , vol. Gillerman, ed. Winthrop: Retrospective for a Collector, exh.

VI, no. Winthrop Collection, Harvard University, exh. Winthrop Collection, exh. La Collection Grenville L. Winthrop, exh. B25, B27, p. B27; repr. N8, ill. N8 Marjorie B. Second impression Measurements: KKS Other details: Not signed.

Oval atelier stamp lower right in margin Provenance: Vente d'Estampes No. First impression. Measurements: Plate Degas, Ottawa, Canada, Degas, New York, Etats-Unis, Lieu : Metropolitan Museum of Art. Dalla scena al dipinto. La magia del teatro nella pittura dell'Ottocento. Edgar Degas, Yokohama, Japon, Lieu : Museum of Art. Danse — Dessin, Paris, France, Life, Articles on Art , p.

Charles H. Lillian Browse, Degas Dancers London, , p. Giovanni Carandente, Degas: I maestri del colore Milan, , pls. Richard Brettell, French Impressionists Chicago, , p. James L. First of two impressions Measurements: Signed lower right with pastel.

Lewis Sale , No. William Coxe Wright, St David's, Pennsylvania Charlotte Dorrance Wright; While many late-nineteenth-century painters produced both prints and pastels, Degas was unique in combining these two mediums in his monotypes. He created these images by putting ink on a copper plate without scratching the surface, and then transferring the picture to paper by using the pressure of a printing press.

Usually there was only enough ink to create one impression. As a final step, Degas frequently added pastel to the printed image. Degas's technical inventiveness was endless, as he worked in a wide range of mediums that he frequently combined in deft and experimental ways. In The Star, one of the earliest of Degas's over three hundred monotypes and another of his theatrical subjects, the base image was created on a metal plate with printer's ink worked with brushes, rags, and perhaps the artist's fingers; the plate was then run through a printing press to offset the image onto a dampened sheet of paper.

Degas worked up the resultant impression with layers of pastel, altering the monochromatic inky image through the addition of rich veils and accents of brilliant chalky color. Cognate of Orozco Janis 7 Provenance: Dr. CIX, vol. No 21 Depicted from the vantage point of a seat in the balcony of a theater, two dancers execute rapid jumps in unison while a third kneels in a dramatic pose. To produce this monotype, Degas covered a metal plate entirely with black ink and used a cloth and his fingertips selectively to wipe ink away.

He then pressed the plate onto paper and gave the unique impression Sic to his friend Alphonse Cherfils, as indicated by the inscription. J10; Current owner or museum: William I. Cognate of Orozco Janis 9. Provenance: Mrs. Thomas A. Scott, Philadelphia acquired from the artist on the advice of Mary Cassatt.

Edgar T. Scott, Philadelphia by descent from the above. Moorhead C. Kennedy, New York by descent from the above ; sale, Christie's, London 1 July , lot 13 illustrated. Private Collection, England. It was sold by the Morris and Gwendolyn Cafritz Foundation, established in The Foundation is the largest charitable source of private funds for health, education, social services, and the arts and humanities in the Washington area.

William I. Koch Literature: P. Janis, Degas Monotypes, exh. Minervino, Tout l'oeuvre peint de Degas, Paris, , p. Philadelphia, Pennsylvania Museum of Art, Degas, , p. No 22 Christie's Lot Essay: As the paradigmatic painter of modern life among the Impressionists, Edgar Degas focused on scenes of urban entertainment and concentrated especially on images of the ballet.

He portrayed almost every step and setting in the process from practice to performance. His numerous works in myriad media- paintings, pastels, drawings, and prints-almost relentlessly detail the ritual training in rehearsal rooms, the expectant preparations in the wings, and the realization of the dancers' efforts in the final performance, as in the present work.

On stage, Degas' dancers are often seen from angles which evoke specific locations within the theater, whether from the audience or the orchestra in front, theater boxes above, or the wings at either side. From each vantage point, Degas often allows individuals ancillary to the performance--musicians, spectators, or admirers--to intrude into the scenes fig. The present work is, therefore, exceptional in its sole concentration on a group of select dancers near the end of their performance.

Degas' unequivocal obsession with dance--the pictures of this subject comprise more than half of the artist's total output--has led scholars to suggest parallels between the artist's activities in creating a canvas and the dancer's exertions in preparing a performance. According to Robert Gordon and Andrew Forge, for example: The dance was supremely and self-evidently an art of the body.

It was also chaste, artificial, and the upshot of rigorous preparation and practice. Repetition took place in the dance studio tirelessly. It was not improvised but practiced in the most extreme sense, to the point of pain and deformation. When a dancer returned to a position again she was like a model taking a pose; but also like a painter, making a drawing, repeating it, tracing it, learning it by heart.

And when she performed, her performance was effortless in its appearance, filled with an abstract joy R. Gordon and A. Forge, Degas, New York, , p. Degas is well-known for his peculiar perspectives and forceful fragmentation of the human body, tendencies which characterize his dance pictures and evidence his endless experimentation with pictorial formats.

However, Degas' dance pictures in particular initiated another type of experimentation for the artist, this time with disparate artistic media. As early as , Degas began his experiments with the technique of monotype, and the first composition that he produced established an intersection between his ballet scenes and this new technique, which he favored for the next decade.

Degas' experimentation with monotypes overlapped his engagement in printmaking, which became, for him, a similarly collaborative process, especially in his work with fellow Impressionists Mary Cassatt and Camille Pissarro on the journal Le Jour et la Nuit, whose title refers to the black- and-white format of prints. The monotype technique is similar to printmaking as it involves pulling an impression from a drawing in printer's ink on a metal plate.

Each impression, even in an addition of two, is a unique work. Degas' monotype images result from one of two methods, which he occasionally combined on a single plate. He executed monotypes either by an additive approach in which an oily ink is applied to a blank plate with a brush or a rag "light-field manner" or by a subtractive process in which ink is removed with similar tools from a plate entirely covered in a layer of ink "dark-field manner".

The latter method is apparent in the present work, but with either method, the technique is rapid and direct and encourages flexibility and improvisation. The present work is the second of two impressions pulled from a single plate. As Eugenia Parry Janis has written about the first impression of this monotype fig. The black ink ground itself can represent the dark stage without the artist's having to define a stage space.

In this monotype, the black ink, flat and velvety, is analogous to the stage. Diagonal striations of ink indicate a sharply inclined floor. The dancers, even the kneeling one, relate in a very limited representational way to the floor, which appears to press up behind them.

There is no believable floor for them to stand on when they finish their leaps. Rather, they flutter over the black ground with tight, compact little gestures, as if supported by strings from above. Nothing "real" intrudes into this monotype; the effect is of hermetic theatrical illusion ibid. This illusion is even more successful in the present work, to which Degas has added pastel.

In this second version, Degas not only creates a more complex composition through his inclusion of several more dancers and his indication of stage scenery, but he also reproduces more successfully the unusual effects of stage lighting. Applied over the contrasting black monotype, the pastel tones become dramatically luminescent and project both an intense illumination and a heightened theatricality.

Degas' dazzling colors demonstrate his knowledge of contemporary color theory, and his later combinations often introduce stunning juxtapositions fig. In the present work, the delicate pinks of the dancers' costumes vibrate against the bright greens, all alongside Degas' striking introduction of orange highlights in the left corner of the composition.

As John Rewald has recognized: Resorting to ever more vibrant color effects, he found in his pastels a means to unify line and color. His pastels became multicolored fireworks. Both the captivating quality revealed in the seductive surfaces of Degas' pastels and the dancers' positions evident in the present work--the two on the right seem poised, if somewhat comically, in mid--leap-recall two stanzas from one of the artist's own sonnets on the subject of dancers: And her feet of satin embroider like the needle Patterns of pleasure.

The capering girl Tries my poor eyes as they try to pursue her. Because of a trifle, as always, the lovely mystery ceases. In jumping she draws up her legs overmuch. It's the jump of a frog in the ponds of Cythera. Harry Payne Bingham, Private Collection. Emannuel Pontremoli; died , Paris, by [Lemoisne ]. George T. Shackelford, Degas: The Dancers, exh. The New Paintings: Impressionism , exh.

San Francisco, , p. Richard Brettell, French Impressionists Chicago, , pp. James N. Rome, , p. Exhibition History: Third Impressionist Exhibition Leigh B. Havemeyer; To her daughter Mrs. Peter H. Frelinghuysen; To her son Peter H. Literature: Lafond, , I, p. First Impression Measurements: Whittemore Lugt a Provenance: Cat.

Zinser, who sold to the MFA in Bought Atelier stamp lower right. A counterproof of the first impression, according to Janis, who does not give any other indication on this first proof. KKS Other details: Oval atelier stamp verso. Measurements: 35,7 x 26,6 cm. Acquisition date In the painting the dancer wears a tunic; in this drawing she is nude. The reason the drawing appears somewhat faint is due to it being a counterproof as indicated by the left- hand shading from the drawing sold as 'Danseuse en maillot', 4th Degas sale, Paris, Galerie Georges Petit, 4.

The sequence of the drawing was confused in the sale with the latter being sold among the 'impressions en noir'. Degas made a monotype based on this drawing of c. Label text from , Sep-Jan touring exhibition, 'Lines of Thought' In this drawing Degas interrogates the form of a nude figure, the charcoal outline repeatedly rubbed and redrawn.

It is likely not the result of an observational drawing, but instead illustrates Degas's reliance on manipulation of motifs from his own work, formal considerations taking precedence over narrative or character. The composition of this figure and its relation to the frame of the page are the motivation behind his enquiries. At this time, in the last years of the nineteenth century, due to his failing eyesight he gave up painting almost completely, instead producing numerous drawings and a number of sculptures , almost exclusively focusing on dancers and nudes.

There was no clear distinction between finished work and study, but the constant recycling of motifs offered him a springboard to further explore and refine his ideas. Ailsa Mellon Bruce Collection, Edward H. Exhibition History: Degas. Galerie Georges Petit, Paris , no. Charpentier, Wildenstein and Co. Paul Mellon and Mrs. National Gallery of Art, Washington, , no.

Literature: Degas Exh. Galerie Georges Petit, Paris, , no. Paris: Arts et metiers graphiques, Reprinted in 5 vols. Mellon Bruce. National Gallery of Art, Washington, repro. L'Opera complete di Degas. Milan, , no. National Gallery of Art, Washington, , repro. National Gallery of Art, Washington. New York, , no. Literature: Lafond, , II, p. Aria After the Ballet, presented at the fourth impressionist exhibition in , has all the drama typical of Edgar Degas's theater subjects.

The dancers, but especially the singer at the left, are flooded with light projected from below. At lower right protrude the curving forms of the bass instruments, emerging like comic periscopes from the orchestra pit. Degas manipulated perspective and played with a disparity of scale: the stringed instruments appear to be the same height as the expressively posed opera singer to whom their "heads" turn, as if in rapt attention.

Though the work was exhibited with the title Ballet de l'Africaine, a particular opera has not yet been identified. This work reveals, too, Degas's attention to experimentation with various media. Rich pastel captures the radiant, shimmering effect of the costumes of the performers. In contrast, matte gouache defines the forested and mountainous scenery, thereby approximating the drab, sketchy painting of a stage backdrop. Plate marks just visible along the edges of the paper suggest that the pastel and gouache mask a monotype print, which provided the basis of the composition.

He chose to keep the collection away from those Philadelphian fat cats. A friend of the philosopher and educational theorist John Dewey, he built a museum in Merion, Pennsylvania five miles from Philadelphia on his own land, a acre Arboretum, and restricted visits, running the Foundation as a teaching institution, which was his main focus in life from the Twenties till his death in a car accident in The collection was displayed as in a house, arranged with furniture and decorations, in aesthetically pleasing if rather overly-symmetrical groupings, rather than in the contemporary museum's open space, white wall style.

Barnes' will specified that the collection must never be loaned out or sold. His will put Lincoln University, a small black college, in charge of the collection after his death. For a long time the Foundation was run by a close follower of the Barnes spirit, Violette de Mazia. But after she died in , gradually, and recently quite rapidly, the will has been abrogated, the trust broken. In the Nineties, an ambitious man named Richard H. More recently a powerful nexus of politicians the governor and the mayor of Philadelphia , the Annenbergs, the Philidelphia Museum, and rich charitable organizations, mainly the Pew Foundation, have worked not only to get control away from Lincoln University but to move the whole collection to a new building in the city of Philadelphia, where Barnes emphatically did not want his collection to be.

The documentary focuses on and sides with the opposition to this development. There was a court challenge to Judge Ott's decision allowing the move, but he opted not to consider it and the opposition has not appealed this decision.

That's the focus of the film. I confess to somewhat mixed feelings about these complex issues. I grew up in Baltimore, where the Cone sisters gave their extraordinary if smaller collection of similar work to the Baltimore Museum of Art in the Fifties, so anyone could look at it. But in those years, it was hard to get to see the Barnes collection, and even after it was opened up against Barnes' will it remained out of the way and so I've never seen it. In some sense it seems better that it may now be viewed by a lot of people in Philadelphia.

Barnes shouldn't made a collection of this magnitude so difficult of access. On the other hand, the fat cats have raped Barnes' will and ignored his intentions. It has now been stolen away from its original administrators and all Barnes' wishes have been willfully violated. Two wrongs don't make a right. There was a problem, but this is not the proper resolution. Emotions run high among the talking heads; most of the principals responsible for the latest, final takeover declined to be interviewed.

Biased though this film is, it has law and the rights of collectors on its side. And it reveals some political funny business that would make Michael Moore salivate. It's an ugly picture of art being turned into a battle for power and money and exploited for political luster and tourist potential. Instructive and disturbing.

Interesting and entertaining look at how a bunch of the powerful in Philadelphia basically conspired to take one of the great modern art collections in the world away from it's home in the suburbs, , and transplant them into Philadelphia proper, against the express wishes left in Albert C. Barnes will made in While there's no question the tactics used by those in power are sleazy, the film also ignores what I consider a key issue: Is it really such a bad thing that one of the most amazing collections of modern art be much more accessible to the public, even if it violates the will of a man with no heirs who has been dead over 50 years?

At what point do old grudges - going both ways - count less than art belonging to the world? I'm not saying there are neat answers to such questions, but the film acts like there's no moral murkiness at all. Similarly the film uses questionable tactics to argue its case. For example it's constantly stating how those on the 'other side' refuse to be interviewed. Yet, it is clear that the ideology of the film-makers is known to all involved -- the film is financed by one of the leaders of the group fighting against the collections movement, and guards at a gathering of those planning the art move know not to allow in this specific film crew, even mentioning their production company name.

If you knew you a film was being made whose basic premise is that you're a swindler a cheat and a thief with no respect for art, would you agree to be interviewed? Additionally, some of those who seem so calm and well reasoned while being interviewed and arguing the art should be left where it is, seem a little less impressive when you see them outside that same gathering screaming 'philistines!

None-the less, I still enjoyed the film, and there's no question it does a good job exposing the fact that many of our biggest public trusts and charitable institutions have a lot going on besides 'acting in the public interest', and are willing to play dirty pool to get what they want. I just find it hard to see this as a case of moral outrage to rank with the Iraq war, or starving children, or the U. It's basically rich people hating on rich people. Fun, but not as nutritious as all that.

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