Lesson #9

Edgar Degas (duh-GAH)

French, 1834-1917

Before the Performance,

about 1896-98

Oil on paper laid on canvas

Subject

Before the Performance depicts a favorite Degas subject, an off-guard moment in the life of the Paris ballet dancer. As the last minutes to curtain time tick by, these little “rats” (a common nickname for the company’s adolescent dancers)

daydream, gossip, and adjust their costumes. By the 1890s, Degas had little need to sell his work, thanks to earlier commercial success and inherited wealth. He was able to take more risks artistically, as demonstrated in the moodiness of this painting. Notice how the dancers’ faces are blank and expressionless; they stand to the rear of the picture space, as if alienated from the viewer. The artist no longer tried to render his subjects’ feelings. “They call me the painter of dancers,” Degas said, “without understanding that for me the dancer has been the pretext for painting beautiful fabrics and rendering movement.”

Style

The artist was fascinated by the succession of movements and gestures ‑ one reason, no doubt, that he painted dancers in so many positions. He liked the artistic tension of arms and legs straining and twisting at odd angles, apparent in the two dancers on the right of this painting. The figure bisected by the picture frame (left) and the slash of trees across the background show the influence of photography on Degas’ compositions. Some photographs capture unusual, spontaneous compositions with figures, and objects cropped off rather than whole within the image. Blurred edges and delicate application of paint give the painting a two-dimensional, decorative feeling remini-scent of the Japanese prints so popular at the time. Degas also used more brilliant, expressive colors than in earlier works. The orange tutus are a soft smudge of paint, resembling the original pastel that inspired this painting.

Artist

Edgar Degas was born to an affluent Parisian banking family and briefly studied law before turning to art. Although a founding member of the Impressionist group exhibitions, Degas never really thought of himself as an Impressionist. He had received academic art training. He worked more realistically than the other Impressionists for much of his career. His drawing skills, obvious in the clear, deliberate lines around his painting subjects, also set him apart from Monet, Renoir, Sisley, and many others. Unlike his fellow Impressionists, who were criticized for sloppy brushwork and lack of finish, Degas was sometimes questioned for the “low-life” subjects he painted obsessively: laundresses, dancers, and street women. In later life, the artist moved away from realism toward a looser style that would inspire a new generation of painters. This looser style was due, in part, to his failing eyesight.

Date: 2015-02-28; view: 786