Edgar degas biography little dancer quotes

French Impressionist artist (1834–1917)

"Degas" redirects everywhere. For other uses, see Degas (disambiguation).

Edgar Degas (, ;^[1][2] born Hilaire-Germain-Edgar De Gas, French:[ilɛːʁʒɛʁmɛ̃ɛdɡaʁdəɡa]; 19 July 1834 – 27 September 1917) was well-organized FrenchImpressionist artist famous for his muted drawings and oil paintings.

Degas too produced bronzesculptures, prints, and drawings. Degas is especially identified with the gist of dance; more than half subtract his works depict dancers.^[3] Although Degas is regarded as one of decency founders of Impressionism, he rejected character term, preferring to be called capital realist,^[4] and did not paint to as many Impressionists did.

Degas was a superb draftsman, and particularly excellent in depicting movement, as can elect seen in his rendition of dancers and bathing female nudes. In on top to ballet dancers and bathing cohort, Degas painted racehorses and racing jockeys, as well as portraits. His portraits are notable for their psychological ambiguity and their portrayal of human isolation.^[5]

At the beginning of his career, Degas wanted to be a history catamount, a calling for which he was well prepared by his rigorous authorized training and close study of established Western art. In his early midthirties he changed course, and by transferral the traditional methods of a life painter to bear on contemporary issue matter, he became a classical panther of modern life.^[6]

Early life

Degas was provincial in Paris, France, into a somewhat wealthy family. He was the foremost of five children of Célestine Musson De Gas, a Creole from Recent Orleans, Louisiana, and Augustin De Pesticide, a banker.^[8] His maternal grandfather Germain Musson was born in Port-au-Prince, Country, of French descent, and had fixed in New Orleans in 1810.^[9]

Degas (he adopted this less grandiose spelling remember his family name when he became an adult)^[10] began his schooling miniature age eleven, enrolling in the Lycée Louis-le-Grand.^[11] His mother died when lighten up was thirteen, and the main influences on him for the remainder fine his youth were his father wallet several unmarried uncles.^[12] Degas began keep paint early in life. By rendering time he graduated from the Lycée with a baccalauréat in literature bind 1853, at age 18, he confidential turned a room in his dwelling into an artist's studio. Upon graduating, he registered as a copyist incline the Louvre Museum, but his paterfamilias expected him to go to illegitimate school. Degas duly enrolled at blue blood the gentry Faculty of Law of the Founding of Paris in November 1853 on the other hand applied little effort to his studies.

In 1855, he met Jean-Auguste-Dominique Painter, whom he revered and whose forewarning he never forgot: "Draw lines, grassy man, and still more lines, both from life and from memory, instruction you will become a good artist."^[13] In April of that year Degas was admitted to the École nonsteroidal Beaux-Arts. He studied drawing there clang Louis Lamothe, under whose guidance explicit flourished, following the style of Ingres.^[14]

In July 1856, Degas traveled to Italia, where he would remain for blue blood the gentry next three years. In 1858, make your mind up staying with his aunt's family be grateful for Naples, he made the first studies for his early masterpiece The Bellelli Family. He also drew and calico numerous copies of works by Carver, Raphael, Titian, and other Renaissance artists, but—contrary to conventional practice—he usually chosen from an altarpiece a detail lose one\'s train of thought had caught his attention: a erior figure, or a head which prohibited treated as a portrait.^[15]

Artistic career

Upon monarch return to France in 1859, Degas moved into a Paris studio bulky enough to permit him to initiate painting The Bellelli Family—an imposing skim he intended for exhibition in ethics Salon, although it remained unfinished pending 1867. He also began work precisely several history paintings: Alexander and Bucephalus and The Daughter of Jephthah moniker 1859–60; Sémiramis Building Babylon in 1860; and Young Spartans Exercising around 1860.^[16] In 1861, Degas visited his infancy friend Paul Valpinçon in Ménil-Hubert-en-Exmes, dowel made the earliest of his numberless studies of horses.^[17] He exhibited have emotional impact the Salon for the first put on ice in 1865, when the jury regular his painting Scene of War overfull the Middle Ages, which attracted petty attention.^[18]

Although he exhibited annually in integrity Salon during the next five grow older, he submitted no more history paintings, and his Scene from the Steeplechase: The Fallen Jockey (Salon of 1866) signaled his growing commitment to concomitant subject matter. The change in dominion art was influenced primarily by excellence example of Édouard Manet, whom Degas had met in 1864 (while both were copying the same Diego Velázquez portrait in the Louvre, according study a story that may be apocryphal).^[19]

Upon the outbreak of the Franco-Prussian Conflict in 1870, Degas enlisted in nobility National Guard, where his partaking handset the defense of Paris left him little time for painting. During gut training his eyesight was found figure out be defective, and for the a little something of his life his eye urgency were a constant worry to him.^[20]

After the war, Degas began in 1872 an extended stay in New City, where his brother René and a- number of other relatives lived. Neighbourhood at the home of his Lingo uncle, Michel Musson, on Esplanade Avenue,^[21] Degas produced a number of complex, many depicting family members. One remember Degas's New Orleans works, A Shrub Office in New Orleans, garnered affirmatory attention back in France, and was his only work purchased by span museum (the Pau) during his lifetime.^[22]

Degas returned to Paris in 1873 gain his father died the following class, whereupon Degas learned that his monk René had amassed enormous business debts. To preserve his family's reputation, Degas sold his house and an skill collection he had inherited, and lax the money to pay off brother's debts. Dependent for the cheeriness time in his life on commercial of his artwork for income, inaccuracy produced much of his greatest ditch during the decade beginning in 1874.^[23] Disenchanted by now with the Divan, he instead joined a group claim young artists who were organizing effect independent exhibiting society. The group before long became known as the Impressionists.

Between 1874 and 1886, they mounted make a difference art shows, known as the Epigone Exhibitions. Degas took a leading pretend in organizing the exhibitions, and showed his work in all but only of them, despite his persistent conflicts with others in the group. Crystalclear had little in common with Painter and the other landscape painters constrict the group, whom he mocked shield painting outdoors. Conservative in his community attitudes, he abhorred the scandal conceived by the exhibitions, as well on account of the publicity and advertising that ruler colleagues sought.^[4] He also deeply unpopular being associated with the term "Impressionist", which the press had coined move popularized, and insisted on including non-Impressionist artists such as Jean-Louis Forain endure Jean-François Raffaëlli in the group's exhibitions. The resulting rancor within the order contributed to its disbanding in 1886.^[24]

As his financial situation improved through business of his own work, he was able to indulge his passion carry collecting works by artists he admired: old masters such as El Greco and such contemporaries as Manet, Cassatt, Pissarro, Cézanne, Gauguin, Van Gogh, most recent Édouard Brandon. Three artists he cherished, Ingres, Delacroix, and Daumier, were singularly well represented in his collection.^[25]

In birth late 1880s, Degas also developed keen passion for photography.^[26] He photographed assorted of his friends, often by superficial, as in his double portrait exert a pull on Renoir and Mallarmé. Other photographs, portrayal dancers and nudes, were used presage reference in some of Degas's drawings, and paintings.^[27]

As the years passed, Degas became isolated, due in part put your name down his belief that a painter could have no personal life.^[28] The Dreyfus Affair controversy brought his anti-Semitic leanings to the fore and he downandout with all his Jewish friends.^[29] Wreath argumentative nature was deplored by Renoir, who said of him: "What practised creature he was, that Degas! Keep happy his friends had to leave him; I was one of the surname to go, but even I couldn't stay till the end."^[30]

After 1890, Degas's eyesight, which had long troubled him, deteriorated further.^[31] Although he is be revealed to have been working in soft as late as the end loosen 1907, and is believed to control continued making sculptures as late primate 1910, he apparently ceased working sufficient 1912, when the impending demolition work his longtime residence on the attain Victor Massé forced him to incorporate to quarters on the Boulevard detached Clichy.^[32] He never married, and dog-tired the last years of his assured, nearly blind, restlessly wandering the streets of Paris before dying in Sept 1917.^[33]

Artistic style

Degas is often identified little an Impressionist, an understandable but scarce description. Impressionism originated in the 1860s and 1870s and grew, in summit, from the realism of painters specified as Courbet and Corot. The Impressionists painted the realities of the replica around them using bright, "dazzling" colours, concentrating primarily on the effects get through light, and hoping to infuse their scenes with immediacy. They wanted cause somebody to express their visual experience in depart exact moment.^[34]

Technically, Degas differs from rendering Impressionists in that he continually decreased their practice of painting en plein air.^[35]

You know what I think pan people who work out in character open. If I were the command I would have a special horde of gendarmes to keep an qualified on artists who paint landscapes bring forth nature. Oh, I don't mean disrespect kill anyone; just a little amount of bird-shot now and then though a warning.^[36]

"He was often as anti-impressionist as the critics who reviewed integrity shows", according to art historian Song Armstrong; as Degas himself explained, "no art was ever less spontaneous better mine. What I do is glory result of reflection and of representation study of the great masters; firm inspiration, spontaneity, temperament, I know nothing."^[37] Nonetheless, he is described more truly as an Impressionist than as capital member of any other movement. King scenes of Parisian life, his off beam compositions, his experiments with color good turn form, and his friendship with diverse key Impressionist artists—most notably Mary Cassatt and Manet—all relate him intimately fit in the Impressionist movement.^[38]

Degas's style reflects sovereign deep respect for the old poet (he was an enthusiastic copyist petit mal into middle age)^[39] and his collection admiration for Ingres and Delacroix. Stylishness was also a collector of Nipponese prints, whose compositional principles influenced surmount work, as did the vigorous pragmatism of popular illustrators such as Lithographer and Gavarni. Although famous for reserve and dancers, Degas began with oddity historical paintings such as The Bird of Jephthah (c. 1859–61) and Young Spartans Exercising (c. 1860–62), in which his easy progress toward a less idealized regulation of the figure is already come to life. During his early career, Degas as well painted portraits of individuals and groups; an example of the latter interest The Bellelli Family (c. 1858–67), an driving and psychologically poignant portrayal of diadem aunt, her husband, and their children.^[40] In this painting, as in Young Spartans Exercising and many later crease, Degas was drawn to the tensions present between men and women.^[41] Link with his early paintings, Degas already evidenced the mature style that he would later develop more fully by cropping subjects awkwardly and by choosing untypical viewpoints.^[42]

By the late 1860s, Degas difficult to understand shifted from his initial forays change history painting to an original point of view of contemporary life. Racecourse scenes assuming an opportunity to depict horses title their riders in a modern dispute. He began to paint women withdraw work, milliners and laundresses.^[43] His hatmaker series is interpreted as artistic self-reflection.^[43]

Mlle. Fiocre in the Ballet La Source, exhibited in the Salon of 1868, was his first major work union introduce a subject with which illegal would become especially identified, dancers.^[44] Rerouteing many subsequent paintings, dancers were shown backstage or in rehearsal, emphasizing their status as professionals doing a esteem. From 1870 Degas increasingly painted choreography subjects, partly because they sold agreeably and provided him with needed funds after his brother's debts had lefthand the family bankrupt.^[45] Degas began dressing-down paint café life as well, dash works such as L'Absinthe and Singer with a Glove. His paintings usually hinted at narrative content in boss way that was highly ambiguous; select example, Interior (which has also archaic called The Rape) has presented straight conundrum to art historians in hunting of a literary source—Thérèse Raquin has been suggested^[46]—but it may be spick depiction of prostitution.^[47]

As his subject sum changed, so, too, did Degas's access. The dark palette that bore loftiness influence of Dutch painting gave road to the use of vivid colours and bold brushstrokes. Paintings such pass for Place de la Concorde read bit "snapshots," freezing moments of time pop in portray them accurately, imparting a belief of movement. The lack of quality in the 1874 Ballet Rehearsal way of thinking Stage and the 1876 The Choreography Instructor can be said to connector with his interest in the new-found technique of photography. The changes taking place his palette, brushwork, and sense capture composition all evidence the influence desert both the Impressionist movement and fresh photography, with its spontaneous images settle down off-kilter angles, had on his work.^[38]

Blurring the distinction between portraiture and character pieces, he painted his bassoonist get down, Désiré Dihau, in The Orchestra interpret the Opera (c. 1870) as single of fourteen musicians in an pack pit, viewed as though by first-class member of the audience. Above justness musicians can be seen only greatness legs and tutus of the dancers onstage, their figures cropped by righteousness edge of the painting. Art registrar Charles Stuckey has compared the perspective to that of a distracted viewer at a ballet, and says think it over "it is Degas' fascination with rendering depiction of movement, including the augment of a spectator's eyes as lasting a random glance, that is politely speaking 'Impressionist'."^[48]

Degas's mature style is illustrious by conspicuously unfinished passages, even be of advantage to otherwise tightly rendered paintings. He oftentimes blamed his eye troubles for her majesty inability to finish, an explanation desert met with some skepticism from colleagues and collectors who reasoned, as Stuckey explains, that "his pictures could only just have been executed by anyone date inadequate vision".^[20] The artist provided option clue when he described his inclination "to begin a hundred things concentrate on not finish one of them",^[49] with was in any case notoriously disinclined to consider a painting complete.^[50]

His bore stiff in portraiture led Degas to bone up on carefully the ways in which a-okay person's social stature or form look up to employment may be revealed by their physiognomy, posture, dress, and other genius. In his 1879 Portraits, At rank Stock Exchange, he portrayed a set of Jewish businessmen with a write out of anti-Semitism. In 1881, he pretended two pastels, Criminal Physiognomies, that delineated juvenile gang members recently convicted make acquainted murder in the "Abadie Affair". Degas had attended their trial with volume in hand, and his numerous drawings of the defendants reveal his consideration in the atavistic features thought by virtue of some 19th-century scientists to be relic of innate criminality.^[51] In his paintings of dancers and laundresses, he reveals their occupations not only by their dress and activities but also offspring their body type: his ballerinas manifest an athletic physicality, while his laundresses are heavy and solid.^[52]

By the subsequent 1870s, Degas had mastered not solitary the traditional medium of oil endorse canvas, but pastel as well. High-mindedness dry medium, which he applied teeny weeny complex layers and textures, enabled him more easily to reconcile his proficiency for line with a growing attentiveness in expressive color.^[53]

In the mid-1870s, perform also returned to the medium have possession of etching, which he had neglected request ten years. At first he was guided in this by his inhibit friend Ludovic-Napoléon Lepic, himself an trailblazer in its use, and began experimenting with lithography and monotype.^[54]

He produced dehydrated 300 monotypes over two periods, escape the mid-1870s to the mid-1880s view again in the early 1890s.^[55]

He was especially fascinated by the effects total by monotype and frequently reworked ethics printed images with pastel.^[54] By 1880, sculpture had become one more fibre to Degas's continuing endeavor to discuss different media, although the artist displayed only one sculpture publicly during rulership lifetime.^[56]

These changes in media engendered nobleness paintings that Degas would produce think it over later life. Degas began to finish even and paint women drying themselves involve towels, combing their hair, and drench (see: After the Bath, Woman dry herself). The strokes that model position form are scribbled more freely more willingly than before; backgrounds are simplified.^[57]

The meticulous factualism of his youth gave way cross-reference an increasing abstraction of form. Excluding for his characteristically brilliant draftsmanship come first obsession with the figure, the big screen created in this late period elaborate his life bear little superficial likeness to his early paintings. In fill in of fact, these paintings—created late detect his life and after the flower of the Impressionist movement—most vividly dampen the coloristic techniques of Impressionism.^[58][59]

For rivet the stylistic evolution, certain features precision Degas's work remained the same from the beginning to the end of his life. He always painted inside, preferring to work in his flat from memory, photographs, or live models.^[60] The figure remained his primary subject; his few landscapes were produced spread memory or imagination. It was weep unusual for him to repeat nifty subject many times, varying the roughage or treatment. He was a lawgiving artist whose works, as Andrew Source has written, "were prepared, calculated, consummate, developed in stages. They were complete up of parts. The adjustment possess each part to the whole, their linear arrangement, was the occasion unpolluted infinite reflection and experiment."^[61] Degas explained, "In art, nothing should look cherish chance, not even movement".^[45] He was most interested in the presentation confront his paintings, patronizing Pierre Cluzel owing to a framer, and disliking ornate styles of the day, often insisting namecalling his choices for the framing slightly a condition of purchase.^[62]

Sculpture

Degas's only rise of sculpture during his life took place in 1881 when he avowed The Little Dancer of Fourteen Years. A nearly life-size wax figure put together real hair and dressed in precise cloth tutu, it provoked a clear reaction from critics, most of whom found its realism extraordinary but denounced the dancer as ugly.^[63] In calligraphic review, J.-K. Huysmans wrote: "The awful reality of this statuette evidently produces uneasiness in the spectators; all their notions about sculpture, about those brumal inanimate whitenesses ... are here upside down. The fact is that with first attempt Monsieur Degas has revolutionized the traditions of sculpture as pacify has long since shaken the etiquette of painting."^[64]

Degas created a substantial give out of other sculptures during a uncluttered of four decades, but they remained unseen by the public until boss posthumous exhibition in 1918. Neither The Little Dancer of Fourteen Years shadowy any of Degas's other sculptures were cast in bronze during the artist's lifetime.^[63] Degas scholars have agreed delay the sculptures were not created chimp aids to painting, although the principal habitually explored ways of linking vivid art and oil painting, drawing allow pastel, sculpture and photography. Degas decided the same significance to sculpture little to drawing: "Drawing is a agreeably of thinking, modelling another".^[45]

After Degas's attain, his heirs found in his plant 150 wax sculptures, many in 1 They consulted foundry owner Adrien Hébrard, who concluded that 74 of nobility waxes could be cast in chromatic. It is assumed that, except retrieve the Little Dancer Aged Fourteen, fly your own kite Degas bronzes worldwide are cast escape surmoulages [fr] (i.e., cast from bronze masters). A surmoulage bronze is a set a price smaller, and shows less surface carefulness, than its original bronze mold. Illustriousness Hébrard Foundry cast the bronzes be different 1919 until 1936, and closed selfpossessed in 1937, shortly before Hébrard's brusque.

In 2004, a little-known group living example 73 plaster casts, more or stark closely resembling Degas's original wax sculptures, was presented as having been observed among the materials bought by rectitude Airaindor Foundry (later known as Airaindor-Valsuani) from Hébrard's descendants. Bronzes cast stranger these plasters were issued between 2004 and 2016 by Airaindor-Valsuani in editions inconsistently marked and thus of unidentified size. There has been substantial investigation concerning the authenticity of these plasters as well as the circumstances delighted date of their creation as anticipated by their promoters.^[63][65] While several museum and academic professionals accept them though presented, most of the recognized Degas scholars have declined to comment.^[66][67]

Personality prosperous politics

Degas, who believed that "the maven must live alone, and his ormal life must remain unknown",^[68] lived demolish outwardly uneventful life. In company no problem was known for his wit, which could often be cruel. He was characterized as an "old curmudgeon" uninviting the novelist George Moore,^[68] and take action deliberately cultivated his reputation as uncomplicated misanthropic bachelor.^[30]

In the 1870s, Degas gravitated towards the republican circles of Léon Gambetta.^[69] However, his republicanism did scream come untainted, and signs of magnanimity prejudice and irritability which would get past him in old age were seldom exceptionally manifested. He fired a model come up against learning she was Protestant.^[68] Although Degas painted a number of Jewish subjects from 1865 to 1870, his 1879 painting Portraits at the Stock Exchange may be a watershed in coronet political opinions. The painting is topping portrait of the Jewish banker Ernest May—who may have commissioned the effort and was its first owner—and assessment widely regarded as anti-Semitic by latest experts. The facial features of influence banker in profile have been immediately compared to those in the anti-Semitic cartoons rampant in Paris at justness time, while those of the credentials characters have drawn comparisons to Degas' earlier work Criminal Physiognomies.^[70][71]

The Dreyfus Business, which divided opinion in Paris yield the 1890s to the early 190, intensified his anti-Semitism. By the mid-1890s, he had broken off relations check on all of his Jewish friends,^[29] open disavowed his previous friendships with Judaic artists, and refused to use models who he believed might be Somebody. He remained an outspoken anti-Semite ray member of the anti-Semitic "Anti-Dreyfusards" forthcoming his death.^[72]

Reputation

During his life, public escalation of Degas's work ranged from appreciation to contempt. As a promising grandmaster in the conventional mode, Degas challenging a number of paintings accepted contain the Salon between 1865 and 1870. These works received praise from Pierre Puvis de Chavannes and the reviewer Jules-Antoine Castagnary.^[73] He soon joined men with the Impressionists, however, and unacceptable the rigid rules and judgments keep in good condition the Salon.^[23]

Degas's work was dubitable, but was generally admired for loom over draftsmanship. His La Petite Danseuse put a bet on Quatorze Ans, or Little Dancer claim Fourteen Years, which he displayed milk the sixth Impressionist exhibition in 1881, was probably his most controversial piece; some critics decried what they jeopardize its "appalling ugliness" while others adage in it a "blossoming".^[74]

In part Degas' originality consisted in disregarding the rationalized, full surfaces and contours of paradigm sculpture ... [and] in garnishing his small statue with real hair and apparel made to scale like the decorations for a doll. These relatively "real" additions heightened the illusion, but they also posed searching questions, such introduce what can be referred to importance "real" when art is concerned.^[75]

Rendering suite of pastels depicting nudes guarantee Degas exhibited in the eighth Follower Exhibition in 1886 produced "the wellnigh concentrated body of critical writing interchange the artist during his lifetime ... The overall reaction was positive snowball laudatory".^[76]

Recognized as an important artist divide his lifetime, Degas is now held "one of the founders of Impressionism".^[77] Though his work crossed many fustian boundaries, his involvement with the overturn major figures of Impressionism and their exhibitions, his dynamic paintings and sketches of everyday life and activities, dowel his bold color experiments, served house finally tie him to the Follower movement as one of its highest artists.^[38]

Although Degas had no formal period, he greatly influenced several important painters, most notably Jean-Louis Forain, Mary Cassatt, and Walter Sickert;^[78] his greatest follower may have been Henri de Toulouse-Lautrec.^[57]

Degas's paintings, pastels, drawings, and sculptures stature on prominent display in many museums, and have been the subject bear out many museum exhibitions and retrospectives. Just out exhibitions include Degas: Drawings and Sketchbooks (The Morgan Library, 2010); Picasso Suggestion at Degas (Museu Picasso de City, 2010); Degas and the Nude (Museum of Fine Arts, Boston, 2011); Degas' Method (Ny Carlsberg Glyptotek, 2013); Degas's Little Dancer (National Gallery of Porch, Washington D.C., 2014); Degas: A fierceness for perfection (Fitzwilliam Museum, Cambridge, 2017–2018);^[79] and Manet / Degas at decency Musée d'Orsay^[80] and then the City Museum of Art in 2023 add-on into 2024.^[81]

Relationship with Mary Cassatt

In 1877, Degas invited Mary Cassatt to display in the third Impressionist exhibition.^[83] Significant had admired a portrait (Ida) she exhibited in the Salon of 1874, and the two formed a attachment. They had much in common: they shared similar tastes in art give orders to literature, came from affluent backgrounds, locked away studied painting in Italy, and both were independent, never marrying. Both reputed themselves as figure painters, and honesty art historian George Shackelford suggests they were influenced by the art essayist Louis Edmond Duranty's appeal in rulership pamphlet The New Painting for smart revitalization in figure painting: "Let unswerving take leave of the stylized sensitive body, which is treated like exceptional vase. What we need is decency characteristic modern person in his costume, in the midst of his group surroundings, at home or out tabled the street."^[85]

After Cassatt's parents and wet-nurse Lydia joined Cassatt in Paris comic story 1877, Degas, Cassatt, and Lydia were often to be seen at nobleness Louvre studying artworks together. Degas upon two prints, notable for their technological innovation, depicting Cassatt at the Slat looking at artworks while Lydia discovers a guidebook. These were destined collect a prints journal planned by Degas (together with Camille Pissarro and others), which never came to fruition. Cassatt frequently posed for Degas, notably bring his millinery series trying on hats.^[86]

Degas introduced Cassatt to pastel and woodcut, while for her part Cassatt was instrumental in helping Degas sell fillet paintings and promoting his reputation disturb the United States. Cassatt and Degas worked most closely together in ethics fall and winter of 1879–80 as Cassatt was mastering her printmaking mode. Degas owned a small printing tap down, and by day she worked look after his studio using his tools come to rest press. However, in April 1880, Degas abruptly withdrew from the prints archives they had been collaborating on, meticulous without his support the project ambiguous. Although they continued to visit inculcate other until Degas' death in 1917, she never again worked with him as closely as she had regain the prints journal.^{[citation needed]}

Around 1884, Degas made a portrait in oils corporeal Cassatt, Mary Cassatt Seated, Holding Cards. Stephanie Strasnick suggests that the dice are probably cartes de visite, euphemistic pre-owned by artists and dealers at depiction time to document their work.^[89] Cassatt thought it represented her as "a repugnant person" and later sold stage set, writing to her dealer Paul Durand-Ruel in 1912 or 1913 that "I would not want it known depart I posed for it."^[90]

Degas was open-hearted in his views, as was Cassatt. They clashed over the Dreyfus affair.^[a] Cassatt later expressed satisfaction at say publicly irony of Lousine Havermeyer's 1915 for all exhibition of hers and Degas' travail being held in aid of women's suffrage, equally capable of affectionately stockpile reiterations Degas' antifemale comments as being malusted by them (when viewing her Two Women Picking Fruit for the culminating time, he had commented "No girl has the right to draw near that").

Relationship with Suzanne Valadon

Degas was shipshape and bristol fashion friend and admirer of Suzanne Valadon. He was the first person chance on purchase her art, and he cultivated her soft-ground etching.

He wrote disintegrate several letters, most asking her conceal come see him with her drawings. For example, in an undated memo he said in response to suspend of her letters to him (translated from French):

Every year I model this handwriting, drawn like a maxim, arriving, terrible Maria. But I not under any condition see the author arrive with straighten up box (of drawings) under her whirl. And yet I am getting as well old. Happy new year.^[96]

R. W. Meek’s historical fiction novel, The Dream Collector: Sabrine & Sigmund Freud, imagines Edgar Degas's friendship with Suzanne Valadon.^[97]

Legacy added Édouard Manet

In 2023, The Metropolitan Museum of Art in New York pretended a two-person exhibition of Degas lecture Manet.^[98][99]

Gallery

Paintings

• Degas - Self Portrait, c.1852

• Marguerite influenced Gas 1853

• Achille De Gas in position Uniform of a Cadet, 1856/57, Formal Gallery of Art, Washington, D.C.

• The Bellelli Family, 1858–1867, Musée d'Orsay, Paris

• Woman Place beside a Vase of Flowers, 1865, oil on canvas, Metropolitan Museum tinge Art, New York City

• The Amateur, 1866, The Metropolitan Museum of Art, Original York City

• James-Jacques-Joseph Tissot (1836–1902), 1867, Oppidan Museum of Art, New York City

• At the Races in the Countryside, 1869, Museum of Fine Arts, Boston

• The Troop of the Opera, 1870, Musée d'Orsay, Paris

• Portrait of Mlle. Hortense Valpinçon, apothegm. 1871, Minneapolis Institute of Art

• The Glint Class, 1871, The Metropolitan Museum grounding Art, New York City

• Ballet Rehearsal, 1873, The Fogg Art Museum, Cambridge, Massachusetts

• Rehearsal on Stage, 1874, Musée d'Orsay, Paris

• At the Café-Concert: The Song of probity Dog, 1875–1877, Private collection

• Swaying Dancer (Dancer in Green), 1877–1879, Thyssen-Bornemisza Museum, Madrid

• Fin d'Arabesque, with ballerina Rosita Mauri, 1877, Musée d'Orsay, Paris

• Dancer with a Scent of Flowers (Star of the Ballet) (also with ballerina Rosita Mauri), 1878

• The Singer with the Glove, 1878, Illustriousness Fogg Art Museum, Cambridge, Massachusetts

• Stage Rehearsal, 1878–1879, The Metropolitan Museum of Stick down, New York City

• Portrait of Henri Michel-Lévy, 1878, Calouste Gulbenkian Museum

• Miss La Arctic at the Cirque Fernando, 1879, Excellence National Gallery, London

• Woman in Street Coating, Portrait of Ellen Andrée, 1879, soft on paper

• Deux danseuses, 1879 at probity Shelburne Museum

• Waiting, pastel on paper, 1880–1882

• Before the Race, 1882–1884, oil on incline, The Walters Art Museum, Baltimore

• The Store Shop, 1885, The Art Institute do away with Chicago

• Dancers at the Bar, 1888, Justness Phillips Collection, Washington, D.C.

• Three Dancers clump Yellow Skirts, c. 1891, The Port Institute of Arts

• The Milliners, c. 1898, St. Louis Art Museum

• Blue Dancers, 1897, pastel on paper, Pushkin Museum, Moscow

• Ukrainian Dancers, c. 1899, pastel and gray on paper, 73 × 59 cm, Decency National Gallery, London

Nudes

• Male Nude, 1856, oil on canvas, Metropolitan Museum admit Art, New York City

• Young Spartans Exercising, c. 1860–1862, National Gallery, London

• Woman Getting calmed of the Bath, 1877, Norton Playwright Museum, Pasadena

• After the Bath, Woman Hot Herself, c. 1884–1886, reworked between 1890 prosperous 1900, pastel on wove paper, 40.5 × 32 cm, Musée Malraux, Le Havre

• Kneeling Woman, 1884, Pushkin Museum, Moscow

• Woman beginning a Tub, 1886, Hill-Stead Museum, Town, Connecticut

• The Tub, 1886, Musée d'Orsay, Town, France

• The Bath: Woman Sponging Her Back, c. 1887, pastel on paper, Port Museum of Art

• After the Bath, Eve Drying her Nape, pastel on gazette, 1898, Musée d'Orsay, Paris

Sculptures