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埃德加·德加

1834–1917

艺术家及其所处世界

生平与创作经历

德加早年深入训练素描并研究欧洲古代艺术,后来参与印象派展览,同时持续重视构图经营、室内光和人体。后期舞者及日常相遇成为绘画、粉彩、版画及雕塑的实验场。

博物馆传记原文(英文)

Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the École des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, Cézanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.

艺术家传记 · 克利夫兰艺术博物馆 · CC0

生涯作品选读

所选作品并非完整目录。推断生涯顺序之前,请先阅读日期范围及作者归属。

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  1. 01

    1856

    1856

    意大利少女头像习作四幅

    材料与技法
    石墨
    作者归属与角色
    博物馆归属记录
    收藏与来源
    克利夫兰艺术博物馆
    Bequest of Muriel Butkin · 图像:公共领域(CC0)
    博物馆原文说明

    This sheet of head studies unites three fundamental characteristics of Degas's art: consummate draftsmanship, captured movement and expression, and an almost obsessive attention to the attitudes of the female figure. Drawn in 1856 during his first trip to Italy, the sheet represents the model in successive positions and expressions of suffering. The name inscribed at the upper right-Rita Cacciala-must be that of the model. Writing models' names and addresses on figure studies was a common practice among artists, providing them with a handy reference of models they might want to contact for future use.

    馆藏文字 · 克利夫兰艺术博物馆 · CC0
  2. 02

    c. 1878–80

    c. 1878–80

    保罗·拉丰与阿尔丰斯·谢尔菲尔斯观画

    材料与技法
    木板油画
    作者归属与角色
    博物馆归属记录
    收藏与来源
    克利夫兰艺术博物馆
    Bequest of Leonard C. Hanna Jr. · 图像:公共领域(CC0)
    博物馆原文说明

    The upper left corner of this painting bears a dedication by Degas "to his dear friends." The double portrait depicts Paul Lafond (left), future curator of the art museum at Pau, in southwestern France, and Alphonse Cherfils (right), an art collector and defender of the Impressionists. Through the influence of these friends, Degas's works were selected for the annual exhibitions of the Société des Amis des Arts (Society of Friends of the Arts), and his painting, A Cotton Office (1873), was the first by the artist to be purchased by a museum. Since the painting held by the two men is probably by Degas, this intimate image commemorates both personal and business relationships.

    馆藏文字 · 克利夫兰艺术博物馆 · CC0
  3. 03

    约1895年

    约1895年

    舞者饰带

    材料与技法
    织物面油画
    作者归属与角色
    博物馆归属记录
    收藏与来源
    克利夫兰艺术博物馆
    Gift of the Hanna Fund · 图像:公共领域(CC0)
    博物馆原文说明

    This painting may depict a single dancer seen from four different viewpoints. The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure. Degas's unusual presentation may have been inspired by the photographs of Eadweard Muybridge (1830-1904)

    馆藏文字 · 克利夫兰艺术博物馆 · CC0
艺术语言与创作特点

媒介、笔触与色彩

媒介与表面

石墨与油彩支持持续描绘及精心经营的绘画表面。

笔迹与结构

裁切、偏心人物及重复姿态组织运动,而非中立快照。

色彩与光线

色彩和明暗区分身体与背景,表面处理随项目及载体变化。

资料来源与延伸阅读

本项目原创教育性阐释;馆藏原文另行注明。每件选例均链接来源,未展示图像的参考条目不加入比较时间轴。

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