Edgar DegasFrance, 1834–1917Grande Arabesque, Third Time
Peut-on la voir ?
Oui, exposée actuellement
Où est « Grande Arabesque, Third Time » aujourd’hui ? Musées d'Art de Harvard, Gallery 1220, floor 1, European Art, 19th–20th century, Cambridge. Oui, exposée actuellement. Vérifié 29 septembre 2026.
Présentée au public.
- Vérifié
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- Source
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À propos de la sculpture
The arabesque is an essential position in classical ballet and features frequently and in many media — particularly sculpture and pastel — in Degas’s work. This bronze is an example of the artist’s probing attempt to depict the pose, in which all parts of the dancer’s body are fully extended. It captures a sequence of movement, revealing, as his equestrian bronzes also do, Degas’s fascination with the stop-action photography of Eadweard Muybridge. Unlike the photographs, however, Degas’s three-dimensional figures explore the full spatial and physical complexity of motion.
Musées d'Art de Harvard
Notice
- Numéro d’inventaire
- 1951.78
Au catalogue
Sources
- Musées d'Art de Harvard
- Image : Musées d'Art de Harvard — © President and Fellows of Harvard College
Dans la vie de Edgar Degas
La vie entière1886
The eighth exhibition: pastel nudes, and the end of the group
At the last Impressionist exhibition Degas showed a suite of pastel nudes, which drew more critical writing than anything else in his lifetime, mostly laudatory. The group broke up, partly through rancour over the inclusion of non-Impressionists such as Forain and Raffaëlli.
after 1886
Into the shadows: he stops exhibiting
After 1886 Degas stopped exhibiting and sold his pictures at high prices through a narrow circle of agents. By the end of the decade he had in effect fulfilled his wish to be “famous and unknown”, withdrawing among close friends.
late 1880s
A passion for photography
Degas photographed his friends, often by lamplight, as in the double portrait of Renoir and Mallarmé. Photographs of dancers and nudes served as references for his drawings and paintings.
1890s
The Dreyfus Affair: a break with his Jewish friends
The Dreyfus Affair intensified Degas's antisemitism: by the mid-1890s he had broken with all his Jewish friends and refused to use models he thought might be Jewish; the affair also set him at odds with Mary Cassatt. He remained among the Anti-Dreyfusards until his death.
