Written by: Alex Broening
Edgar Degas was born into a moderately wealth family in Paris, France on July 19th, 1834. The oldest of five children, at the age of eleven, Degas enrolled in the Lycée Louis-le-Grand. After earning his baccalaureate in literature at the age of 19, Degas began to grow more invested in art, and began painting seriously – both his own work, and copies of works from the Louvre. Degas was forced to attend Law School at the University of Law in Paris by his father Augustin De Gas, but showed little interest in the subject matter, preferring to paint and draw. Degas left Law School when he was accepted into the École des Beaux-Arts, where he would study drawing under the tutelage of Louis Lamothe. At the École, he learned essentials of classical drawing, with a focus on line and draftsmanship skill. Shortly afterward, Degas left for Italy, where he spent the next three years. In Italy, Degas copied countless pieces by “Old Masters” such as Raphael and Michelangelo, gaining skill as a draftsman and in the techniques of a variety of styles. Unlike many of the other revolutionary artists of the time, Degas’ artwork was shown regularly at the Salon in Paris, but garnered little appreciation. While his first work accepted was a historical painting, his style quickly moved to focus on contemporary matters – often choosing horses or a steeplechase as the subject for his work. Like other artists of the time, Degas became involved in the Franco-Prussian war in 1870, disrupting his artwork and process. In the army, however, he learned of his poor eyesight, which would continue to haunt him for the rest of his life. After the war, Degas moved to New Orleans, Louisiana, and worked there for a while. In New Orleans, he painted his only work to be accepted into a museum during his life. Degas was forced to return to Paris in 1873, in order to sort out his brother’s financial troubles. He joined with a group of other artists, including Alfred Sisley and Claude Monet, to show their works separately from the Salon, in what came to be known as the Impressionist Exhibitions. However, a reserved and quiet man, Degas loathed the scandal that the exhibitions brought. Degas’ work was also quite different from the others exhibited at the Impressionist Exhibitions. Degas refused to be characterized as an Impressionist, scorning Impressionists for painting outside, and decrying their use of bright colors and “spontaneity.” Indeed, Degas once said: “No art was ever less spontaneous than mine. What I do is the result of reflection and of the study of the great masters; of inspiration, spontaneity, temperament, I know nothing.” Clearly frustrated by the label, Degas and his group dissolved 1886. While Degas was similar to the Impressionists in his use of and play with light and shadow, he preferred to go his own way – unattached to any particular movement, and calling himself a “realist.” Degas’ work continued to evolve, as his vivid palette developed alongside his eye for composition. Degas was also influenced by photography and printmaking. As he aged, Degas’ painting became more loose and abstracted – closely resembling the art of the Impressionist movement. Many of Degas’ paintings of nude women and dancers came from this period and show extreme skill in the capturing of light and shade. Degas’ work was also characterized by an intense amount of planning. Even when his work appeared extemporaneous or impulsive, many hours of thought and contemplation went into it. Degas’ last years were unhappy. Believing that artists could have no close friends, Degas distanced himself from those around him, leaving himself isolated. Many of his friends also died before him. In addition, his involvement with the anti-Semitism on prominent display during the scandals of the Dreyfus affair separated him from all of his Jewish friends – a separation that he later regretted. Never married, he died alone in Paris in 1917, having spent the last years of his life nearly blind and unable to work. Degas’ effect on art and the Impressionist movement is remarkable. Degas’ works captured “real life.” His frank portrayals of dancers backstage, as in Dancers Tying Shoes (1883), gave greater weight to those paintings. He was unafraid to paint the unromanticized portions of life. Undoubtedly, Degas was also a master of light and form, as can be seen in the radiating and modulating light in his 1871 work The Dancing Class. His impact on the development of art was immeasurable, essentially setting the stage for art’s evolution into abstraction.
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ContributorsJACQUELINE YU is the co-founder of the MLWGS art history online magazine. She is an incredible artist and devotes much of her time to both participating in, experiencing, and appreciating art. Archives
April 2019
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