Les Choristes ("The Chorus" or "The Chorus Singers") is an 1877 pastel on monotype by French artist Edgar Degas. Part of a series of similar works depicting daily public entertainment at the time, it shows a group of singers performing a scene from the opera Don Giovanni, the only work by Degas depicting an operatic performance without dancers.
Les Choristes, and other contemporary works of the artist such as Café-Concert at Les Ambassadeurs, show the influence of French caricaturists of the era. Honoré Daumier is often invoked, but critics and art historians have identified others. Critics at the time praised it, with one suggesting that the singers' "hideous" faces made them seem more real.
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After its initial exhibition, Les Choristes was purchased by Gustave Caillebotte, a fellow painter and friend of Degas's who used his own large inheritance to support fellow Impressionists. Caillebotte bequeathed it to the state upon his death in 1894, which added it to the collection of the Musée du Luxembourg in Paris, and then later exhibited it at the Louvre. In 1986 it was moved to the Musée d'Orsay with other works of modern art.
At the end of 2009, while on loan to the Musée Cantini in Marseille, the work was stolen. Investigators were unable to find any leads. It was recovered in 2018 when customs inspectors found it in the luggage compartment of a bus they searched in the department of Seine-et-Marne outside Paris; the thieves have not been identified. After being found to be relatively undamaged, it was displayed again at the Musée d'Orsay.
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.
Edgar Degas法国, 1834–1917
