Edgar DegasFranciaország, 1834–1917Grande Arabesque, Second Time (Arabesque on the Right)
Megnézhető?
Igen, most kiállítva
Hol van most a(z) „Grande Arabesque, Second Time (Arabesque on the Right)”? National Gallery of Art, Terem 4 · Nyugati épület, földszint, Washington. Igen, most kiállítva. Ellenőrizve 2026. november 2.
Washington, Amerikai Egyesült Államok
TeremTerem 4 · Nyugati épület, földszint
Most nyitva· 17:00-ig
A közönség számára kiállítva.
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- Forrás
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A szoborról
Grande Arabesque, Second Time (Arabesque on the Right) is a dancer study Edgar Degas made around 1885–1890, now in Washington's National Gallery of Art. The figure balances on one leg with the other extended behind her. Coloured wax and plastiline cover a structure incorporating metal, wood and cork. The dancer's height is 46.5 cm. The model is exhibited in Gallery G4.
Adatok
- Leltári szám
- 1999.80.9
Mit ábrázol?
A katalógusban
Források
- National Gallery of Art
- Kép: National Gallery of Art — Museum open access
Edgar Degas életében
A teljes életút1886
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.
