AskDegas.com Biography: Edgar Degas the French Impressionist 1834-1917

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Young EDGAR DEGAS Self-Portrait

Hilaire Germain Edgar Degas
(b.19 July 1834 – d.27 Sept. 1917) was the eldest of five children born to Auguste René de Gas and Célestine Musson de Gas. Except for an occasional holiday, Edgar Degas spent his entire life within or near Montmartre (one small district of Paris) where he created art of Parisians who lived and worked in the city. In 1848, Paris had 35 million inhabitants of which only two million had legal status. It was the time and place of Victor Hugo’s Les Misérables.

FAMILY
The de Gas branch of his heritage had considerable wealth and were French aristocrats. Edgar’s grandfather left Paris during the French Revolution and established himself in Naples, Italy. The extended families owned banks with branches in Paris, Naples and New Orleans. Edgar’s father, Auguste, built the Paris branch of the Banque de Naples. Edgar was born on the premises. Until his early 30’s, Edgar Degas occasionally signed his artworks as de Gas.

Edgar’s maternal line, Musson, had a Creole heritage and were wealthy, too. They lived in New Orleans, USA and had business interests in cotton, spices, sugar and rum in the United States and silver in Mexico. During the American Civil War, the Musson family moved to Paris, where Edgar’s parents met and married. After the war, her family returned to New Orleans.

ARABESQUE
Edgar Degas’ ballerina sculptures are some of his finest artworks.

DEGAS, The Cotton Market, New Orleans, USA 1873 Edgar’s grandfather Musson is seated in the front and Edgar’s brother, René, is reading a newspaper. This was Degas’ first painting purchased by a museum (in 1878).	Edgar had two brothers and two sisters. Achille became a naval officer and settled in New Orleans. René married twice, first a cousin and then an American. René took over the Musson business in New Orleans. Marguerite married Henri-Gabriel Fèvre, a Paris architect. Thérèse married a cousin, a Neapolitan banker. Special dispensations were given by the Pope enabling Edgar’s two sibling to marry cousins. Edgar appreciated Catholic rituals and traditions but was not religious. He never married. Many years later he told friend & art dealer, Ambroise Vollard: Vollard, you should get married. You don’t know what loneliness is like when you grow old.” When Vollard asked why he had remained a bachelor, he said: “I was too much afraid of hearing my wife say, when I had finished a painting: ‘That’s a pretty picture you’ve done…….’” – Edgar Degas After his mother’s death in 1847, Edgar’s father continued taking him to museums, art galleries, music recitals and other artistic events. Often, they visited family friends who collected prints and original paintings. These Sunday occasions were special and exposed the impressionable Edgar to the incredible scope of great Western European artworks and the leading French artists and their philosophies of the time. All of which, influenced Edgar Degas’ decision to become an artist.

STUDENT DEGAS, Portrait of Mille. Hortense Valpinçon, oil painting, c.1869-70 Paul Valpinçon’s daughter. In his youth, Edgar attended an exclusive boarding school, Lycée Louis-le-Grand; and while there, developed close and lasting friendships with Henri Rouart, Paul Valpinçon and Ludovic Halévy. Degas painted them and their families often.	As well as having an aptitude for art, Edgar was intellectually gifted. In 1852, he passed the difficult Baccalauréat test, which enabled his entrance into any French school. Respecting his father’s wishes, he studied Law for six months (one term), but Art became his passion. His early rigorous academic studies were beneficial throughout his life; because, he enjoyed the mental challenges of analyzing literature and conversing with important contemporary writers, such as Zola, Flaubert, the Goncourt brothers, and Dauder. Most writers frequented the same cafes as artists (such as the unknown Impressionists). The amount of influence exerted by writers on Degas is questionable, but he did read extensively – classical and contemporary books and several newspapers. And, he wrote a successful book of poetry. In 1853, based on artistic talent, he was allowed to copy an engraving at the Bibliothéque National. Edgar’s father finally accepted Edgar’s career choice and arranged for art instruction under Jean Auguste Ingres’s pupil, Louis Lamothe. He taught classical techniques. Degas learned to work in solitude and stayed one year sketching and drawing under Lamothe’s close observation. Lamothe recommended his attendance at the famed École des Beaux-Arts. Auguste de Gas was impressed with his son’s excellent work habits and the amount of work that he accomplished. From student days to 1912, he continued his consistent work habits and created artworks numbering in the thousands.

‘SALON’ Four years earlier, at the 1851 Salon Exhibition, Courbet had exhibited his Stone Breakers and the Burial at Ornans. Reactions were strong against the artworks, primarily because of the subject matter – peasants. Viewers could imagine heroic battle-scenes in their living quarters, but not average, peasants. However, insightful artists and critics began to question why realistic, contemporary artworks could not be exhibited at the Salon.

	Courbet believed in his work, but 1851 was too early. It would take twelve years (1863) before Manet presented his painting, Déjeuner sur l’Herbe, to the Salon judges. It too, was rejected because of the subject matter. But, Manet had acquired a following and his supporters approached Napoleon III, who established the alternative exhibition, Salon des Refusés. Manet’s painting was the focal point – praised by some and called an elaborate art joke by others. Just two years later, the Salon reversed its position and became a yearly exhibition for the modern and contemporary artists as well as for traditional artists.
ÉDOUARD MANET, Déjeuner sur l’Herbe, oil painting, c.1862

Before 1865, students were expected to eventually create artworks acceptable to the judged, yearly ‘Salon’ Exhibitions. An artist painted or sculpted in either the Neoclassical or Romantic styles; and their subject matters were historical paintings, portraits or traditional idealized subjects. After 1865, the Salon accepted artworks representative of numerous styles of work, including Impressionism. Degas exhibited for six years (1865-70), and then made a self-imposed break from the Salon. He felt artwork should not be displayed floor to ceiling but more appropriately. And, if an artist presented a body of work in a smaller space, a viewer could better understand the artist and his work. Degas had many influences that effected his work, but respect for the “masters of the past” and their working habits was paramount. He continued the time-honored practice of sketching a figure in it’s natural environment or from a pose; and then, taking multiple sketches back to the studio and composing an entire painting where he could control the light, color, positioning, everything. He reused sketches many times. Degas absorbed and learned from artworks of earlier generations; and, also developed necessary attributes for accurate, realistic, contemporary artworks, which he is known for today.

1856-59 ITALIAN TRIP Confident that he could learn more on his own, he left the École des Beaux-Arts at age 22 in 1856; and spent three years visiting his father’s relatives in Italy, while studying and copying the great artworks of Raphael, Mantegua, Ghirlandaio, Boticelli and others. Occasionally he’d focus just on details (a hand gesture) or unusual perspective (Mategua’s artworks). The Renaissance Masters impressed him especially. His studies filled 28 sketch-books (currently in the Bibliothéque Nationale). Besides Old Masters studies, he sketched genre images, too. While there, Degas met Bonnat and Fantin-Latour, and at The French School in Rome he met other French artists, such as Symbolist painter, Gustave Moreau, Delaunay, Tourny (engraver), and three sculptors, Paul Dubois, Chapu, and Bizet. Together, they formed a group called Caldarrosti (roast chestnuts). Degas created some interesting early work during this period, including an engraving of fellow-artist Tourny and a detailed portrait of Moreau that conveys strong feelings. It hangs in the Musée Gustave Moreau in Paris. Moreau spoke of the group’s meetings in various old Roman districts and the charm of bell-laden horse-drawn carriages. Degas and Moreau also traveled to Pisa, Italy. For Degas, the number of artists he met in Italy was typical. As an intelligent, cultured individual, his path continuously crossed with others in the Arts. As his career developed, contemporary artists, writers and musicians recognized his work and knew of his reputation for being extremely critical of another person’s work.

		This painting was shown in the 2nd Impressionism Exhibition. Degas created very few landscapes (and seascapes) directly from nature.
DEGAS, Sunbathing by the Sea, oil painting, c.1875.

During this Italian trip, Degas began to focus on his specific areas of strengths and interests. He created a few historical paintings and seascapes but portraiture (including self-portraits) and figure painting were becoming his strongest areas. His close observation was an asset while sketching and painting relatives that posed for him. By age 36 in 1870, he had painted 50 portraits, hundreds of sketches and his first group of racetrack images (which he started in 1861). This is more work than some artists accomplish in a lifetime.

	March 1859, Degas returned to Paris where he painted his largest oil canvas, The Bellelli Family Portrait, 1859. There are three generations represented. On the wall is a drawing of Edgar’s recently deceased grandfather de Gas. Standing nearby and dressed in mourning clothes are Edgar’s pregnant aunt, Laura, and her two daughters. They have physically distanced themselves from Edgar’s uncle, Gennaro Bellelli, who is uncomfortable in his tight, restricting space. The oil painting demonstrates Degas’ early classical training and his ability to create a large, complex artwork from sketches and memory. The family portrait has an interesting composition and reveals the tension created by the unhappy family members. He never exhibited this realistic work; and, it was found after his death, rolled up in a dusty corner of his studio. Currently, it is at the Lourve Museum.
DEGAS, The Bellelli Family, c.1859

1870 During the early 1870’s, Degas experienced several life-changing events – his eye problems began, he chose a different direction for his work, his father died and he helped organize the 1st Impressionism Exhibition. When Paris was under siege during the Franco-Prussian War, Degas enlisted in the French Army; and, while on duty, his eyes became badly infected, leaving one eye with a permanent blind spot. Thereafter, his eyes were very sensitive to light and his eyesight progressively deteriorated. He worked feverishly attempting to complete his life’s work before total blindness became a reality, which happened sometime between 1909-12. Then, he no longer able to paint or create prints; but, just with the touch of his hands and his visual memories, he continued making his little sculptures of ballerinas, nudes and horses. His original eye infection needed time to heal; so he traveled to New Orleans and stayed with his brothers and their families. Very little work was accomplished there, but he did make some very important decisions – he realized that he most likely would never marry, and that Paris was where he needed to work. It was the vibrancy of the city and it’s inhabitants that gave him his inner strength. He decided to focus on his Parisian surroundings and find contemporary subject matters that interested him. Art critic and friend, Edmond Duranty had been telling him for years to notice the scenes of everyday life around him, in the streets, cafés and race-courses. His favorite subjects became – every aspect of a woman’s life including women ironing, women at their toilette (bathing, climbing into their tubs, drying themselves, combing their hair). He respected the hard-working women of the day including dancers (ballerinas, Spanish and Russian), prostitutes, nudes and café-concert performers. He made sculptures of horses and created paintings of racetrack scenes with jockeys and their colorful silks. And, he continued painting portraits of contemporary artists and friends. Auguste René de Gas died in February, 1874, leaving a huge vacuum in Edgar Degas’ life. Auguste interacted well with his son, because he understood Edgar’s moods and personality. Auguste’s personal, cultural interests were music and painting; and, Monday’s were devoted to small gatherings in his home where an accomplished musician or quartet would perform. Just as Edgar did, Auguste attended opening nights for the opera, ballet, musical events and art shows. Auguste was very knowledgeable about ‘Western European Art,’ ancient and contemporary. He was capable of objectively critiquing the strengths and weaknesses of Edgar’s work; and he provided astute guidance which enabled Edgar to develop his own artistic style. Auguste recognized Edgar’s strengths with portraiture and encouraged him to continue developing that area since portraiture was an important resource for making significant money. In a letter sent by Auguste to Edgar, who was visiting in Italy: “You mention the boredom you feel at doing portraits; you’ll really have to overcome this eventually because portraiture will be the finest jewel in your crown. The question of cash, in this world, is so serious, so pressing, so crushing even, that only idiots can lose sight of it or scorn it. It’s not a question of having to come down to that level, but you need to be able to put up with the irritations that go with it. To believe that, in this world, you can always indulge your own whims and take no account of the necessities of existence is a foolishness that you pay dearly for, I’ve told you again and again.” – Auguste de Gas The emphasis on money became clear after Auguste’s death. He had made bad banking investments and his family was obligated to repay the sizable debts. Edgar sold both his Parisian house and personal “Old Masters” art collection, including his cherished La Tour pastels. Then he made arrangements with the Antwerp Bank to repay the rest of the loan on a monthly basis, which he did over a 20 year period. At the same time, he also loaned money to his brothers and Musson relatives in New Orleans. René Degas had established ‘The De Gas Brothers,’ and it failed. Even with loans from Edgar and his sister’s husband, Henri-Gabriel Fèvre, the New Orleans De Gas brothers and Mussons had to sell everything they owned. Fortunately , because Edgar’s work continuously sold well through his art dealer, Paul Durand-Ruel, Degas was able to live comfortably and also repay the loans. During times when it became absolutely necessary to raise funds, he would sell a single artwork out of his collection or one of his own. He detested parting with his work; and near the end of his life, he repurchased every piece that he could find, especially his early works. “INDEPENDENTS” With serious financial responsibilities, Degas needed to show his work in successful exhibitions. Claude Monet asked Degas, in 1874, to help put together an exhibition. Degas had met him and most of the other Impressionists at art gatherings and on several occasions during Degas’ evening meals at the Café Guerbois. Monet was well liked and a naturally gifted artist who initially was influenced by open-air painters (landscape painters), known as the Barbizon School. In their early years, Monet, Renoir and Pissarro lived in severe poverty and desperately needed any exhibition or sale possible. Their standards were high though, and they required quality artworks to be shown in their exhibitions. Degas agreed to help organize the show; and, on most matters his opinions prevailed. He tried to have a balanced exhibition representing several styles of artworks, including Salon artists (Manet rejected the offer). Félix Nadar’s well-placed photography studio was being vacated early, so the space was available for a short-term exhibition. Artists displayed their own work and shared all the expenses. Degas’ work was well received by artists and discerning collectors who purchased seven of the 10 works displayed. Other artists did not sell quite as well because viewers had trouble understanding the merits of the Impressionist’s artworks. At the First Exhibition, a reviewer called the exhibitors "Impressionists" based on Monet’s painting, Impression, Sunrise. Impressionism was born and thereafter, the artists were called Impressionists. Degas objected to the description and respectfully called the artists – ‘Independents.’ Degas was far from being an Impressionist. He hated working outside, needed control over every aspect of his work and used light to strengthen his compositions. At the other end of the spectrum were the Impressionists, especially Monet and Renoir, who worked outdoors trying to capture a specific moment in time and were dependent on light defining the forms they were painting from nature. Even considering the differences, Degas and the Impressionists can collectively be called ‘Realists.’ They all painted contemporary images based on reality and their artworks had a directness of expression. It was their approaches that differed. Degas participated in 7 of the 8 Impressionism Exhibitions (1874-1886) and developed a respectable following. The shows were beneficial for him and his work sold well in the smaller, more intimate gallery spaces. But, the other exhibitors soon tired of his unpredictable personality and ridged attitudes. They resented the number of Salon artists he brought into the exhibitions and the control he exerted over every aspect of all the exhibitions. Degas believed in rules and was inflexible about an artist exhibiting in both, their shows and the Salon. With so much dissention, eventually, the original group splintered. But, Degas remained loyal to the exhibitions and displayed new work each year that he participated.

	This image was exhibited at the First Impressionism Exhibition, and purchased by opera singer, Jean-Baptiste Faure. He became an important art collector of Degas and Manet’s works.
DEGAS, At the Races in the Countryside, or Carriage at the Races, c.1870-4.

			His penetrating observation, captured subtle differences in people’s faces and body language (especially within different economic classes). Degas respected the hard-working immigrants from Eastern Europe, especially working women.
DEGAS, Girl at the Ironing board, c. 1869. Exhibited at the 2nd Impressionism Exhibition.		DEGAS, Laundry Maids, c. 1884. or Ironers Exhibited at the 2nd Impressionism Exhibition.


DEGAS, Woman Bathing in a Shallow Tub, c.1886 (original pastel on paper)	DEGAS, Woman Having her Hair Combed, c.1886.
Degas observed women during private moments, such as bathing.

DEGAS, Woman at her Bath, c.1886


DEGAS, After the Bath, c.1886	DEGAS, Woman Drying her Neck

Several of the Bathers artworks were presented at the 8th (last) Impressionism Exhibition. They are stunning pastels and represent Degas at his very best. By the mid-1880’s, Degas was exploring pastel techniques that had been used in the previous century; and, he was simplifying his artworks, by focusing on the female nude. The general public called the pieces ‘disgusting’ and even artists found them ‘disturbing.’ He wanted his models to perform natural movements while they were in various stages of grooming. Degas thought of the images, *“as looking through a keyhole.”* The Bathers are not idealized women or even aware that they are being watched. They are engrossed in their own thoughts. PAUL DURAND-RUEL Paul Durand-Ruel was an astute art dealer with a good eye for new talent. He represented several important Impressionists and Post-Impressionists and began selling Degas’ work when Edgar was quite young and still unknown. Eventually, Durand-Ruel had three galleries in Paris, London and New York City; and, he found eager buyers for Degas’ artworks at all of his galleries. Late in his career (1893), Degas had his first and only one-man exhibition at Durand-Ruel’s in Paris. Displayed were 21 landscape prints of the Burgundy countryside. In 1890, he and friend, Paul-Albert Bartholomé, had taken several days traveling to visit another artist, Georges Jeanniot, who lived in Diénay, France. “ I would stand at the door of the coach and as the train went along I could see things vaguely. That gave me the idea of doing some landscapes.” – Edgar Degas When they arrived at Jeaniot’s in Diénay, Degas asked for copper or zinc plates and used oil paint, thinned with turpentine to create monotypes. He created several each day while visiting. After they dried, he finished the landscapes with pastels. The rest of the monotypes were completed in Paris.

	His friends were surprised! Because, the subject matter – landscapes – was something he had never expressed any interest in creating. The show was very well received and admired by many artists. *“This confounded Degas stupefied people even with his landscapes.”* – Camille Pissarro
DEGAS, Landscape

Pissarro experimented with different Impressionism and Post-Impressionism techniques, including pointillism. Very late-in-his-life, Pissarro returned to Impressionism and finally attained major success. Both, he and Degas, exhibited in the Impressionism Shows; and they discussed printing techniques in their frequent correspondences. FORMS-IN-MOTION Degas allowed very few people into his studio. Only, his dealer and other close friends knew about his small-sculpted studies – another of his unknown interests. “It’s quite true that Degas has spent a good deal of time, not only in the latter years of his life, but for the past fifty years, in modeling in clay. Thus, as far as I can remember – or at is to say, perhaps forty years – whenever I called on Degas I was almost as sure to find him modeling in clay as painting.” Paul Durand-Ruel After his death, while his heirs were cleaning out his studio, they found about 150 clay horses, dancers and nudes in various states of deterioration. They were on shelves, the floor, everywhere. Durand-Ruel made an inventory: 50 were beyond repairs; 30 worthless; 30 broken-up and sketchy and the remaining 30 were quite good. Around 72 of them were repaired and cast in bronze (by Hébranrd); and today are treasured by the entire world. The little sculptures (whether dancers, nudes or horses) convey his search for muscular accuracy – whether a model is at rest or creating a movement. To capture movement in sculpture is what impressed Renoir. *“That is Degas’ greatness: movement in the French style.”* – Pierre Auguste Renoir Renoir also, spoke of Degas as the: *“Greatest Sculptor of the time.”* – Pierre Auguste Renoir Degas loved his little sculptural studies and redid many of them after they crumbled. As his eyes failed him in the mid-1880’s and 1890’s, he depended more and more on the sculptures to create his ballet pastels. Both, his later pastels and clay studies were done with less attention to details. The pastels had broader strokes and large masses of wax were left on the sculptures. He never exhibited the studies, but did exhibit his larger 14-year-old dancer. Once, when he was asked about having his fine sculptures cast in bronze, he replied:


DEGAS, Dancers Mouse Pad	DEGAS, The Star (stained glass)	DEGAS, Dancing Class
After working in his studio (almost every day), he would take long, solitary walks; or when asked, visit a friend or collector. But, his main socialization occurred during his daily evening meals at Parisian café-concerts. They provided light entertainment ranging from singing to circus-type dog acts. Degas’ food choices were very simple, but it was the conversation and visual stimulation that helped to balance his intense mental and physical approach while creating his artworks during the day. As a young man he was shy. As he aged, he developed a gruff exterior and impatience with anyone who did not agree with him. But, if he so desired, he could extend social graciousness. One never knew what to expect when they encountered him. Would he extend a compliment or a verbal thrashing?

DEGAS, Cabaret, c. 1876

Degas enjoyed café stage performers and created several artworks of them in performance.

Degas has captured the hopelessness so often seen in cabarets. The original title was Au Café and portrays artist-friend, Marcellin Desboutin and actress-model, Ellen André. Desboutin was very upset about the artpiece and criticized Degas severely.

“He is no longer a friend, he is no longer a man, he is longer an artist! He is a ‘plate’ of zinc or copper blackened with printer’s ink, and this plate and this man are rolled together by his press, in the meshing of which he has disappeared completely!” – Marcellin Desboutin

DEGAS, L’absinthe, oil painting, c.1876.

ÉDOUARD MANET In 1862, at the Louvre, Degas met Édouard Manet. They became friends and discovered similar backgrounds in Old Masters art-training and similar tastes in art, music and writers. Both were born into wealth and attended cultural events, such as horse racing, opera & ballet. Grateful for a friendship of such depth, Degas invited Manet to his father’s weekly, Monday night musical concerts. Manet reciprocated by taking Degas to the Café Guerbois where artists tended to gather for an evening meal. Later, the Nouvelle Athènes became a favorite gathering place. Manet was very personable, always the center of attention and younger artists revered the man and were inspired by his work. But, Manet and Degas had completely opposite work habits, personalities and tastes in clothing. Manet would create a piece of art and if it was successful, fine; if not, maybe he’d do it as a new piece or move on to something else. Where both men did agree though, was on one major point – ‘that it didn’t matter how the artwork was created.’ The importance was how the ‘viewer perceived the artwork.’

	Degas sketched Manet several times; and did a major oil portrait of him sitting on a couch while his wife plays a piano. Manet disliked how Degas painted his wife’s face, so he cut off about 1/2 of the canvas which included her face. When Degas saw the mutilated painting, he was incensed and removed the image. Their friendship was permanently severed. After that, whenever the two men encounter each other (such as the cafés), they only exchanged competitive remarks. Degas always intended to repaint the removed section of the painting, but never did. Possibly, because 2 years later, Manet painted the same painting and included his wife’s face.
ÉDOUARD MANET, Olympia, oil painting, c.1863.

As time passed, the status of Degas increased; and just as Manet, Degas acquired a loyal following of artists and serious collectors. Manet always claimed responsibility for influencing the attitudes and contemporary subjects that became associated with Degas. These claims seem a little excessive considering Degas had ‘many’ early influences. Whether Manet did or did not originally influence Degas is not the importance. It’s that ‘both men were visionaries’ and developed their art independently of each other. Both, were leaders during a period of major changes in attitudes about Art; and their artworks have outstanding merits which have inspired later generations of artists. MARY CASSETT There were many, many artists and friends that interacted with Degas. But, most remained in the friendly classification and never knew how generous Degas could be. He always put his extended family first, exchanged images with other artists, wrote a recommendation for a ballerina, organized an auction of artworks for the widow of his long-time, trusted friend and art-critic, Edmond Duranty and purchased two early Gauguin paintings when the artist was starving (before he went to Tahiti). Besides Gauguin, Degas purchased many artists works (including Manet) and accumulated a large, respectable collection. Degas was difficult, but did allow a few people into his very personal, isolated life. Mary Cassatt was able to penetrate his gruff, personal defenses. They met in 1877 through a mutual friend, M. Tourny, but both were aware of each other’s work before then. He had seen her work at the Salon in 1872, ‘73, ‘74 & ‘76 and commented: *“There is someone who feels as I do.”* – Edgar Degas Mary, her parents and sister moved from Pittsburgh to Paris in 1873. Shortly thereafter, she saw Degas’ work in Durand-Ruel’s gallery window. *"I used to go and flatten my nose against that window and absorb all I could of his Art. It changed my life. I saw art then as I wanted to see it.”* – Mary Cassatt She was a rare example of a woman who led two lives – educated, society woman and a very determined artist. She entertained visitors and artists from the US, England and France, including George Moore and Whistler; and, persuaded her friend from Philadelphia, Louise Elder, to purchase a Degas pastel print. That friend eventually married industrialist, Havenmeyer, and acquired the largest Degas collection outside of Degas’ own. When Degas asked Cassatt to exhibit with the Independents, she gladly accepted. “Finally I could work with absolute independence without concern for the eventual jury. Already I recognized those (the Independents) were my true masters. I admired Manet, Courbet and Degas. I detested conventional art. I began to live.” – Mary Cassatt Together, they experimented with printmaking techniques and created interesting prints. At first, she was referred to as his pupil, but quickly moved out of that category. He was always glad to help her solve a printmaking problem or an art project. They exchanged images often. She is remembered primarily for her sensitive, contemporary Mother and Child images. Mary Cassatt was the only female artist Degas ever credited with drawing abilities.


DEGAS, Mary Cassatt in the Louvre, 1879-80, Etching	DEGAS, Two Studies of Mary Cassatt in the Louvre, c.1880.	DEGAS, Mary Cassatt Playing Cards, oil painting, 1880.
They spent a lot of time together. She would take Degas along when she went shopping for clothes and hats. Degas always enjoyed watching young women; and the shopping trips were an excuse for watching sales-clerks as they moved, presented a dress, used their hands, created complex gestures necessary for trying on hats, every movement. Once, he was having trouble with an milliner artwork and asked Cassatt to pose while trying on a hat. They introduced artists to each other. He enjoyed her company. Forbes Watson, an American critic, heard Degas say: *“I would have married her, but I could never have made love to her.”* – Edgar Degas After Degas’ death, she tried to disassociate herself from him and even destroyed all of his correspondence to her. In 1912, she had Durand-Ruel sell Degas’ oil painting, Mary Cassatt Playing Cards, 1880. Cassett thought it had some qualities as a work of art, but did not like how he had portrayed her. She did not want to be remembered as having been influenced by Degas; but instead, thought of as an independent woman in her work and in her life. Degas created several portraits and prints of her.

DEGAS, At the Milliner’s, Pastel, 1882.

PRINTMAKING & PHOTOGRAPHY Degas experimented extensively with printmaking. Whenever possible, he used available inks and tools and exchanged technical knowledge with other printmaking artists, including Pissarro and Mary Cassatt. Degas always loved pastels, especially Maurice Quentin de La Tour’s work. (18th century French artist). Unfortunately, concise pastel and other printmaking techniques had not been passed down to Degas’ generation. With limited technical knowledge and poor quality fixatives, Degas’ earliest pastels were failures. They did not adhere correctly to paper. As a perfectionist, Degas spent considerable time and experimentation finding answers. Printmaking requires a methodical and accurate approach, since there are so many stages which increases the possibilities of failure. And, there is the ‘element of chance,’ because of all the variables and stages involved.
	Degas painted Viconte Ludovivic Lepic, his two daughters and their dog. Lepic was interested in the technical aspects of printmaking; and published a book outlining his experiments in 1876. Lepic collaborated with Degas on his first monotype.
DEGAS, Place de la Concorde, oil painting, c.1876.
Some of his most original work resulted from a simplified printmaking approach called monotype. He’d create an image by drawing with tools, rags or his thumbs on a smooth surface, such as a copper printing plate. If possible, he’d pull up to 3 similar black and white prints. Then he’d go back into each of the 3 images with pastels. The final prints would have incredible textures and wide ranges of tonal values created from the black and white ink and the multiple layers of pastels. Some of his ballerina pastel images were created in this manner, as 3 similar monotypes. Degas and other French artists purchased Japanese prints at a small shop called La Porte Chinoise. He was impressed with Japanese printmakers usage of line and contour; and, often used the Japanese sense of perspective with unusual angles and off-centered subjects in his works. Besides consulting specialists in the field, personal research, experimentation and Japanese prints, Degas was influenced by photography. Some of his works appear to have cropped edges similar to photographs; but, in actuality, they were carefully planned parts of his compositions. He experimented with the camera throughout his career and in the early 1890’s bought a Kodak camera. Degas composed his photographs with great care by considering light and all the elements of composition. He photographed his friends, family and models and others photographed him during the last years of life.

EDWEARD MUYBRIDGE, c.1880, photograph.

American, Major Eadweard Muybridge, was interested in movement and set-up an elaborate system of taking instantaneous photographs of animals and people as they executed physical activities, such as running. His scientific studies were becoming know by 1878-1881 and one of the most important discoveries was with the horse and how it actually moves. Artists had always portrayed the horse with all 4 legs off the ground while galloping. Muybridge’s images proved that was incorrect.

Degas began sketching and painting racetrack scenes in 1861 and returned to the subject matter several times in his life. After he saw Muybridge’s work, Degas returned to the racetrack and made new sketches. He knew the horse’s anatomy extremely well. His racetrack interests were elsewhere, such as the colors of the jockey’s silks or multiple horses with different angles of them in compositions. Where Degas did utilize Muybridge’s scientific studies, was with his 3-dimentinal sculptures, especially the small horses. They became more activated and suggested more movement. Forms-in-Motion.


DEGAS, At the Racecourse, oil painting, 1869-72.	DEGAS, Horse at Trough, c.1860, wax statuette.
Study for the horse in Degas’ painting, Mlle Fiocre in the ballet of “La Source.” This sculpture is an example of his early work.

COLLECTOR/MUSEUM Degas collected art throughout his life-time; and as his eyesight deteriorated, he purchased with the intention of creating a museum. Included, would be his art and work by other artists that he respected. He chose not to leave his art or his collection to the French Government or any established museum because he did not trust them to keep the work together. In 1914, at age 80, he ceased working because of almost total blindness. His only interest was wandering the streets of Paris. He lived in isolation with just a few friends visiting and his housekeeper, Zoé, read newspapers and cooked for him. When he became bedridden, Mary Cassatt found his niece, Jeanne Fèvre, working in a hospital in Southern France. His niece took care of him for the last 4 years of his life. Degas had always budgeted his money, especially after handling his Father’s debts, and lived frugally. But, still managed to assemble a huge collection of art ranging from the Renaissance Masters through the Post-Impressionists. If he respected an artist and their work, he acquired their art. Instead of establishing his museum after his death, his heirs sold at auction the contents of his residence. The auction required several days and contained an unbelievable amount of quality artworks by Degas and by other artists in his collection. Even with the sounds of gunfire in the distance, the auction totaled more than 12 million francs. France lost a tremendous art collection; but today, his art can be seen and appreciated in museums around the world. His brother, René, and the children of Edgar’s sister, Marguerite, inherited the estate. Edgar had once again saved the Degas family from financial ruin and had restored honor to the Degas name. René died five years later and the children from his two marriages battled in court for 10 years over the money. Edgar would have been incensed about the publicity of the auctions and sales of his work and collection; and, he would have been horrified about his brother’s families’ lawsuits. Appreciation for his art continues to grow and inspire generations of artists and art enthusiasts. The ‘Realistic’ work appears to be simple; but, actually, is structured and complex. He combined the strengths of classical training with contemporary subjects that he loved best, primarily women. And, his work bridges the 18th with the 19th century. Artists of his day were influenced by his work (such as Lautrec) as well as later artists and movements (such as Matisse, Picasso and the Fauves). Even today, 87 years after his death, we can appreciate the quality of his art.

DEATH

Edgar Degas died September 27, 1917 at the age of 83. He wished for a simple funeral and then for everyone to return to their homes. The only thing he did want though, was for his friend, Bartholomé, to say:

“He loved drawing very much and so do I” – Edgar Degas

DEGAS, Self-portrait

Burial was in a family vault at Saint-Jean de Montmartre Cemetery in Paris. A representative from the State, old friends and artists from the past attended, including Monet (they always disagreed about politics and art). Mary Cassatts told her friend, Nancy Hale:

“We buried him on a Saturday, in beautiful sunshine, a little crowd of friends and admirers, all very quiet and peaceful in the midst of this dreadful upheaval (WWI) of which he was barely conscious. You can well understand what a satisfaction it was for me to know that he had been well cared for and evenly tenderly nursed by his niece in his last days.” – Mary Cassatt

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INTERNATIONAL EXHIBITION OF 1855 Napoleon III instituted an International Exhibition as a way to celebrate French industry and culture. Many artists participated but Jean Auguste Ingres and Eugene Delacroix were honored with individual retrospectives. Ingres had one entire pavilion devoted to his work and spent considerable time deciding which images to exhibit. He wanted his – Le Bain Turc. At first, the owner, Henri Valpinçon said no, but Degas persuaded his old family friend to loan it. When Valpinçon went to Ingres’ studio, to inform the artist he had reversed his decision, he took Degas along. Ingres, told him: *“Draw lines….many lines, after nature, and from memory.”* Degas followed that advice and became a superb draftsman. Degas also incorporated Ingres’ technique – of using few shadows on forms. Degas had one more opportunity of being in Ingres’ presence, when a friend took him to a small afternoon exhibition at Ingres’ studio. Ingres had chosen carefully and selectively placed around the room, artworks by “The Old Masters.” Degas enjoyed watching the elderly Ingres quietly interact with his guests as they asked questions about the artworks.


JEAN AUGUSTE INGRES	EUGENE DELACOIX

During the early 1800’s, French artists, Jacques Louis David and Jean Auguste Ingres had established a calm, orderly feel in their Neoclassical works. Theodore Géricault and Eugene Delacroix represented Romanticism with emotional, exciting battles or ferocious nature scenes. Students, artists and the general public compared and argued over the two styles. Degas thought of Ingres as a God; but respected the Romantics as well, especially Delacroix, for color and the suggestion of movement, which Degas used in his work. Degas never met Delacroix, but once saw him rounding a corner with his collar turned up. As told to Moreau-Nélaton: *“Everytime I pass that place I see Delacroix again, pressed for time and hurrying.”* – Edgar Degas In 1855 (and 1867), another major artist who could have influenced Degas was Gustave Courbet. He was not asked to exhibit in the 1855 (or 1867) International Exhibition; but, had a major, concurrent 1855 Paris one-man show which Degas most likely did attend. Courbet was an excellent “Realist” and can best be described as a “visionary.” Millet was another early rural artist. Their subject matters indicate early individuality outside of the traditional French Salon Exhibitions.

*“It’s too much of a responsibility to let anything in bronze survive one – that is stuff that lasts for ever.”* – Edgar Degas
		Degas’ sculptures captures accuracy for the dancer’s movements and forms. Exhibited at the 6th Impressionism Exhibition. The Little Dancer is the only near-lifesize sculpture he ever exhibited. The original was modeled in beeswax and clothed with – a wig and hair-ribbon, linen bodice and gauze tutu, and ballet slippers. After his death, several casts of the original sculpture were made and a real hair-ribbon and tutu were added. Reactions to the original piece were extreme but mostly favorable.
DEGAS, Spanish Dancer, c. 1895.	DEGAS, Petite Danseuse de Quatorze Ans. (Little Dancer of Fourteen), c.1884, wax statuette.

“The terrible reality of this little statue produces an evident unease in him; all those ideas about sculpture, those cold inanimate whitenesses, those memorable stereotypes copied again and again for centuries, are upset. The fact is that, with his first blow, M. Degas has up-ended the traditions of sculpture as he has long been shaking the conventions of painting.” – J. K. Huysmans, Art-Critic *“The work that is misunderstood today will one day be in a museum looked upon with respect as the first formulation of a new art.”* – Nina de Villars, Art-Critic CORP DES BALLET Degas created a tremendous amount of artworks. For an example, just with his ballerina images and sculptures, the surviving artworks total more than 1,500 plus in various stages of development (sketches, prints, monotypes, paintings, drawings and sculptures). For 10 years he sketched the young women training and then reused the sketches for new artworks during the next 40 years. The early rehearsal scenes were done in oil; and in 1878, he started using pastels for his dancers, nudes and horse-track scenes. In his attempt to catch the action of the moment, his ballet dancers and female nudes are in poses that make no attempt to conceal the subjects' physical exertions. His later pastels have an elegance unsurpassed by any of his earlier works.