Edgar DegasFrancia, 1834–1917Grande Arabesque, Third Time
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Dove si trova «Grande Arabesque, Third Time» oggi? Harvard Art Museums, Gallery 1220, floor 1, European Art, 19th–20th century, Cambridge. Sì, esposta ora. Verificato 29 settembre 2026.
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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.
Harvard Art Museums
Scheda
- Numero di inventario
- 1951.78
In catalogo
Fonti
- Harvard Art Museums
- Immagine: Harvard Art Museums — © President and Fellows of Harvard College
Nella vita di Edgar Degas
Tutta la vita1886
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.
