Grande Arabesque, Third Time, Hilaire-Germain-Edgar Degas, c. 1885-1890
Edgar Degas肖像Edgar Degas法国, 1834–1917

Grande Arabesque, Third Time

c. 1885-1890 · Sculpture

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《Grande Arabesque, Third Time》现在在哪里? 哈佛藝術博物館, Gallery 1220, floor 1, European Art, 19th–20th century, 剑桥. 是,正在展出. 核实 2026年9月29日.

哈佛藝術博物館

剑桥, 美國

展厅1220, floor 1, European Art, 19th–20th century

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关于这件雕塑

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.

哈佛藝術博物館

作品信息

馆藏编号
1951.78

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出处

Edgar Degas当时的生活

完整生平
  1. 1886

    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.

  2. 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.

  3. 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.

  4. 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.

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