Edgar Degasフランス, 1834–1917Dancers Practicing at the Barre
お目にかかれますか？
はい、お客様をお迎えしています
ニューヨーク, アメリカ合衆国
一般公開されています。
- 確認
- この状態になった日
- 出典
- 美術館
作品データ
- 収蔵番号
- 29.100.34
描かれているもの
カタログ収録
出典
- メトロポリタン美術館
- 画像： メトロポリタン美術館 — Open Access (CC0)
その頃、Edgar Degasの人生では
生涯をすべて見る1870s
From “de Gas” back to plain “Degas”
The archives disproved the legend of an ancient noble line: the artist's paternal ancestors were bakers, and the name “de Gas” was invented by his father, who commissioned a false genealogy. In the 1870s Edgar returned to the plain spelling, Degas.
mid-1870s
Back to etching, and monotype
After a ten-year break Degas returned to etching, at first guided by his old friend Ludovic-Napoléon Lepic, and began experimenting with lithography and monotype; he produced some 300 monotypes.
second half of the 1870s
Pastel becomes his main medium
Degas increasingly chose pastel, often combining it with monotype, lithography, etching or gouache. To keep the colour from darkening under ordinary fixatives he devised his own method of fixing and applied pastel in layers.
1877
Friendship with Mary Cassatt
Degas invited Mary Cassatt to show in the third Impressionist exhibition, having admired her portrait “Ida” at the Salon of 1874. He introduced her to pastel and engraving, while she helped him sell paintings and promoted his reputation in the United States.
autumn 1879 – April 1880
The prints journal: Degas abruptly withdraws
In the autumn and winter of 1879–1880 Degas and Cassatt worked closely together on a prints journal; he owned a small printing press. In April 1880 Degas abruptly withdrew, and without his support the project folded.
