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DEGAS
BY
CAMILLE
MAUCLAIR
THE
HYPERION
PRESS
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S3.00
DEGAS
by
CAMILLE
MAUCLAIR
an
artist
should
be
both
celebrated
and
known
is
not
very unusual,
for
originality
always retains
some
of
secrets.
It has
been the fate of Degas
to
one
of
the most
greatly
admired
and most
misunderstood
artists
of his time.
his death
in
1917,
we
have,
in
constant
of his
immense
and
varied
frequently
modified
and changed
our
tending
steadily towards
an
in-
understanding and
respect for this
French artist.
superb
selection
of
the work
of Edgar
is
presented here
including
his great-
and best
known
pictures.
The
sixteen
in
full
color and the
forty
in
and
white
represent a
final
choice from
of
works of
art owned
by
private
and
institutions
both
here
and
Mauclair is the author
of many
on art
and was formerly
the
art critic
Le
Figaro in
Paris.
Thanks
to
the enthusi-
cooperation of such private
collectors
museums
asThe Art Institute
of
Chicago,
(Chester Dale Collection, the Frick Col-
the
Lewisohn
Collection, the
Metro-
Museum
of
Art,
the National
Gallery
Art and many others,
a
new
and
perma-
collection
of
the
works
of
Degas
is
published.
Published
hy
THE
HYPERION
PRESS,
Inc.
Distributed
by
lELL,
SLOAN &
PEARCE,
Inc.
NEW
YORK
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Priirtrrty r\(
n
The
Hilla
von
Rebay
Foundation
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DEGAS
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SELF
PORTRAIT
OF
THE
ARTIST
The
Louvre
Museum, Paris
1855 Oil
32
X
261/2
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EDGAR
DEGAS
by
CAMILLE
MAUCLAIR
yidapted
by
LILLIAN DAY
Cola^^'t^-n
Published by
THE
HYPERION
PRESS
Distributed
by
DUELL,
SLOAN
and
PEARCE
NEW
YORK
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THIS
VOLUME,
ONE
OF THE HYPERION
ART
MONOGRAPHS,
WAS
EDITED
BY AIMEE CRANE
AND
PUBLISHED IN
MCMXLV
FOR
THE
HYPERION
PRESS
Printed
in the
United
States of
America
Copyright
1945
by The
Hyperion Press,
Inc.
New
York.
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THE
DJXCIXC
LESSO.X
188U 85
Oil
Collectio) Mrs.
Es/Zwr
Eisk(-
Htininiond, Snn/n lidthtiiit
14',
X .H-«.,
DEGAS
by
CAMILLE
MA
UCLA IR
tr
-\^HA
r
AN
artist
I
inadequately
Jt
nality seldon
Z'
If
S
^'
^^^'
artist
should be renowned and
at
the same time
ly
known,
is not unusual,
tor
creative
origi-
lom reveals
its
secret.
During
the
twenty-
eight
years which
have
elapsed since
the
death of
Degas,
we
have
continuously
amended
our estimates
of
his
character
and the meaning of
his
work, as
w
ell as
its place
in
the
French
School
ot
painting.
Fundamentally
his life was
a
secret
one.
He
remained
a
bachelor
and
a
misanthrope-
—
if reserving
all
his
faculties
for
work,
and surrendering comforts and
vanities
lor
his
art,
can
be interpreted as misanthropy.
Associated with
the Impressionists, he was
not
truly
of
their
number.
He met, at
the
Cafe Guerbois
in
]*aris,
with
a
group ot
painters
and
novelists
who
assembled to
acclaim
the
principles of
a new a-stheticism. They were
in
common
revolt
against
academic teachings
and delusive literary
con-
ceptions,
and in
agreement
as to the necessity of being true
to
life,
each
in
his
fashion. Zola and Manet
were
the
leading
figures in a
group
that
included Monet,
Renoir, I.egros,
Pissarro,
Fantin-Latour,
and
many others.
The
correct,
reserved and sarcastic
Degas
listened in
silence
to
their
mani-
testoes, and fought
shy
of
theories.
He
was hardly a natural-
ist,
in the
sense
that the
word
was
used, and still less
an
Impressionist, when
the
term
was introduced a
few
year
later.
People called
him
a
realist, and he
was,
in
the
sens
that
he
endeavored
always
to
portray truth,
but at the sam
time
he practiced an
un-literary, almost
abstract art. H
searched
everywhere
for movement
and
line.
Mere
subjec
matter
interested
him less
and less,
and
tor the
concept
o
beauty,
he substituted
that
of
character.
No
art
is
less
spontaneous than
mine,
which is
wholl
reflective,
he declared, and to a
painter friend,
Vou nee
life
in
its
natural, and
I in
its
artificial
form.
Nevertheless, though
often
opposed
to their
tendencies
he exhibited with
his friends and had the
courage to
clai
his
share
of
their
castigation
and
ostracism.
* *
*
Edgar
Hilaire
Germain
de
Gas
was
born in Paris, on
th
Rue St. George,
on
June
29,
1834. He detested the
nam
Kdgar,
and
disdaining
the
use
of
the
nobiliary
particle, signe
himself just
Degas. His father,
bf)rn
in
Naples,
came o
ancient Breton
stock;
his
mother b^-longcd to
the
Musson
family,
which,
several
generations before, had
emigrated
t
New Orleans
and
amassed
a
fortune.
He
pursued
classical studies and
even attended
course
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at
the
School of Law,
atul
then
he declared his intention
of
becoming
an
artist.
No obstacle
whatever was
placed
in
his
way.
He
devoted himself
to his profession
without
material
cares
and
entered
the Ecole
des
Beaux
Arts in 1855. He
was
then
a
pale
young man,
his sensitive
face
framed
by
soft
brown
hair. His
deep-set pensive
eyes contrasted
with his
pouting,
sensual
lips
and
determined chin.
He was
even then
defiant and
caustic.
Femininity scarcely existed
for him,
and
while
he
formed
friendships,
they
never
became
too intimate.
He
made
but
a
brief
stay
at
the
Ecole
and
then studied
with
Lamothe,
the
pupil of
Hippolyte
Flandrin,
who in turn
had
been
a
pupil
of
Ingres.
Then
he
went
to Italy,
In
Rome
he formed
friendships with
painters at
the \'illa
Medici. He met
Georges
Bizet and Gustave
Moreau, whose
friendship lasted
until severed by death. In
Tuscany
he
de-
voted
himself to
drawing,
painting
landscapes,
and
copying
works
by
masters
of
the
Fourteenth
Century. He
came
under
the
influence of Poussin,
and
more and more under
the
spell
of the great
classicist,
Ingres.
On his return
to Paris
he
undertook,
simultaneously
the
production
of historical
pictures
and
the
completion
of a
large
portrait begun in
Florence
at the house of his uncle,
the
Senator Baron
Bellelli, depicting
him
at his
home
with his
wife and
daughters. This work,
which
remained
unknown
until
after
the
artist's death,
is
severe and
frigid. It
dissatis-
fied
him
and he
never
again undertook
a group
of similar
(.limensions.
Fortunately, however,
he did
not
renounce
those
isolated figures
which have
raised
him to
the rank of
one
of
the
finest
psychological portraitists.
From
1860
to
1865
he devoted
himself
to
historic
and
mythological subjects.
This confused
a
generation
which
identified him with
Impressionism, with
dancing
girls, and
racing horses. He was seeking the
association
of
lines and
the
solution
of
technical problems. He
was
admitted
to
the
Salon,
though quietly;
the jury appreciated
the
science
of
his
draughtsmanship and hoped
that
he
would
become
a
historical painter.
Suddenly
he
abandoned
the
path.
Was
he
disturbed
by
the
paradox
between Ingres,
whom
he
adored,
and
Delacroix,
whom
he
admired.'' Was
he
trying
unsuccessfully
to
conciliate
classicism
and
romanticism?
Or
was he coming
to the
realiza-
tion
that
he
lacked imagination and was destined
to express
only
what
he
saw?
He
wrote
nothing and said little
about
himself
at this
time, so we
can onlv
conjecture.
He possessed his own conception
of realism
and
truth, and
never subscribed
to the new
dogma,
do
nothing
save
in
the
presence
of
nature
and the
open air.
What
influenced
him
most in this period
of
uncertainty
was
Japanese
art.
Hoku-
sai's
magic
line
made
him
glimpse
the
possibility
of uniting
to the
Primitives
and the
Classicists a
new
expression of
contemporary
subjects. He no
longer exhibited
his works
except
on
rare
occasions
at
the
Durand-Ruel
Galleries. He
had
no
need
to
sell
his
pictures
for
a livelihood,
and
he
held
renown
in
derision.
In
1872 Degas
made
a
journey to New
Orleans
to
visit
his uncle
Musson, and
his brothers
Achille and Rene
who
were
wealthy
cotton
merchants.
He depicted
them in
their
office with the clear
precision
of
a Dutch master.
MADAME
JULIE BURTIN
1863
Pencil
drawing
143f'
x
10^'
The
Fogg Museum
of
Art, Harvard
U?jiversity,
Collection
Paul
J.
Sachs
But
his
sojourn
in
America
seems to have had no
mo
influence
on his
work
than
his tours
in Morocco
and
Spa
his
Belgian
and
Dutch
excursions,
or
his
visits
to
Pausilip
where
his family had
a villa.
Paris
alone
captivated h
It
is only
a
very
long
sojourn,
he wrote,
which
teac
one the habits of a race; that
is
to
say,
its charm.
The
inst
taneous,
that is
photography,
nothing
else.
He
was captivated
in Louisiana
by the white
babies
in
black arms
of
negresses,
by
the gardens
and the
steamboa
but he
did
not
paint them.
The
women,
he
wrote
to another friend,
are
almost
pretty,
and to
the
charms
of many
of them is
added
that
ug
ness
without
which
they would
not
be
perfect.
But I
f
that
their heads are
as
weak
as mine ... on
your
hono
refrain
from repeating what I have
told you,
that
the
wom
of
New
Orleans
are
weak-minded.
Refrain
from mention
it
to a
soul
knowing
anyone in these parts. This is a seri
matter.
There
is
no trifling
in
New
Orleans.
My
dea
would
not wipe
out
such an
affront.
Around
1865,
when
Degas was thirty-one,
he
made
choice of subjects
—
the
racing and the dancing worlds.
visited
the race-course
to
satisfy his
passion
for
movemen
He
placed
his scenes
of the
turf in
true
and
pleasing la
scapes,
but
above
all,
he strove
to
fix
the mobility
of
animals.
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Then
he directed
his
steps
to the opera, first
of
all to the
orchestra,
tor
he
loved music
and had
many friends among
the
instrumentalists.
It
was
natural that
when
he
relin-
quished historical
and
legendary
figures to
turn
his
attcnrion
to
the life
around him,
he
shouUl
seek his
material in the
world of
opera
and
ballet,
which
he had so often
witnessed
from the
darkness
ot
the
auditorium.
Here
he
found
move-
ment
and
colour tor his brush. By placing
in the
foreground,
as
a
black
value
against a luminous ground,
the
scroll
ot
a
double
bass,
or
the
head and shouUlers of a violinist,
or
by
showing
in
perspective
at
the
top
ot
the
c;ui\as
only
the
legs
and
part of the
skirts of
the dancers,
he
aroused
in-
dignation,
but
he achieved
an extraordinary
refinement of
contrasts.
But soon
this picturesqueness no
longer
satisfied
him.
A
passion for
truth
possessed
him; he wanted
to get
to the bot-
tom
of
things.
And
then
it
was
that
he
discovered
the
human
values
of
back-stage lite.
It was
not
the
celebrated ami tCted stars that
held
his
attention, but the
poor little
girls ot the
corps
de
ballet,
the
unknown,
the
sorrowtul, the anonymous.
Girls
whose
sal-
aries were
pititul
tor
work
exceedingly
hard; ill-nourished
young bodies, from
which
an
excessive
muscular
effort
was
demanded.
Girls
who
were
elegant and graceful
as
long as the
master beat
time, but
who reverted to
weariness
and
vulgarity
as
soon
as the fiddles
had
ceased.
Degas
observed and listened. He made friends
w
ith these
little girls,
who were
more eager
to find, through
their
work,
a gentleman
friend than to
secure better roles. He noted
their
obscene or naive remarks, as
well
as
their wretched
personal linen;
their
cast-ofF
clothing
or worn sandals; their
heavily muscled
limbs and flat
or prematurely drooping
breasts.
In their
company he satisfied both his appetite
for
truth and his
mania
for movement. His
irony
took
on
a
keener
edge,
and
his
heart
was filled
with pity.
He
would
have
been
horrified at
the
idea of producing
literary paintings
—
slices
of
life
—
but he
was
a man,
secretly
good
and
infinitely
sensitive.
Later
Forain was
in
turn
to study
that
little world
and
to depict,
with mockery,
procuresses,
dressers,
wealthy
sub-
scribers
—
effrontery
and
vice.
Degas,
though
aware
of
these
things,
abstained
from satire. It is difficult
to find
in
his
pictures a
stage
manager
or author who
is
not
there
primarily
tor sombre
pictorial value.
Everything was
geometric,
plas-
tic
and eurythmic, and
born of that rigid
discipline was
a
series
of
masterpieces.
Sometimes
they consist of
compositions
painted in
the
morning
light
ot a
bare rehearsal
room,
harmonies in bluish
gray
or
beige, in
which
an
unbound
head
of
hair,
or
an
adorn-
ment of artificial flowers assumes,
amid
cold
tones,
a delect-
able
and
powerful
value.
We
experience
a
faint
recollection
of Vermeer
and
Watteau
through the quiet intimacy
and
the
supreme distinction of this
art.
And yet
the
painter does not
hesitate
to
reveal
the
vulgar ugliness of a
face,
coarse
laughter,
or
a
girl contorting her
body
to
scratch her
back. In
the
canvases
depicting actual performances,
however, the
miracle
of
transformation
has
taken place. The
harmony
of
gold,
pink,
jade
and
turquoise
carries
away, amidst
a
whirlwind of
light
and music, the recollection of
defects,
afflictions
a
banalities.
So
eager was
Degas to remain primarily
a painter
a
draughtsman,
that he not
only
refrained
from too great
stress
on satirical
intention,
but, with
a
few
exceptions,
fought
shy
of
descriptive titles, to
the ilismay
of those w
drew up
his catalogues.
Tlw Riipt', sometimes
given
the
more
iliscreet
title
of
Inft'rior,
is one
of
the exceptions,
when Degas,
against
principles, was
touched by drama.
Whether the
subject
w
an
episode
from a
novel,
or purely
imaginative,
we do n
know,
and it iloes not
matter. While
revealing
a stran
tenderness. Degas has raised
it to
the level
of
a
masterpie
by
the
perfection
of
his
technique.
Amidst
the poetic lig
and
shades of
the virginal
bed-chamber
of
a little
wcjrk
girl,
a
room
softly
lit by a
lamp
near
an embroiderer's
wor
basket,
we
find
ourselves
in
the
heavy
silence
following
brutal struggle,
a
silence broken
by the
sobbing of
the sem
nude
victim.
With
his back
to the
door
the man, once
mo
correct,
contemplates
her
despair. There
is
here a restrai
4
\
Wfat
PORTRAIT
OF
JOSEPH
TOURXY
Cincinnati
.Irt
Museum
1856
Etchi
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REST
TIME
Private
Collection
c.
1893
Pastel
20
x
26y^'
pity and sadness which
contradicts the
general belief
in
the
artist's
insensibility.
Other artists
might
have
emphasized
this
scene
by
a
lascivious
disorder,
but Degas'
more subtle
sense of drama
counselled
him to
leave the little objects in
their
accustomed
places.
After
a few
abominable
moments
we
see nothing
amidst
these
now peaceful
surroundings save
a guilty
man
and
a
wretched
girl.
When devoting
himself
to
the
study
of
nudes
he
endeav-
ored,
even more than
in the
case
of the
dancing
girls,
to
seek
no
other
object than nudity
itself. Yet his
sensitive nature
could
not quite
escape the moral pressure
of
his time, the
pres-
sure
of naturalism
which
gruffly disrobeil
the
woman
whom
romanticism
had gently clothed. From
the
ballet
girls, with
their
familiar
defects,
he could
not pass to insipid models dis-
guised as
figures in classic
mythology.
He
sought his
subjects
away
from the
studio
platform,
in
their own dressing
rooms.
He knew
that
a
woman
shows
herself in
the
state
of nudity
only
to the
man she
loves,
or to
her
mirror.
Nudism in
the
open air was
unknown,
and
we
are
still
far from accepting
it.
But
in her
bathroom
a woman's nakedness has a believable
>aiso>i
d'etre.
Neither love
nor
its
illusions
imposed
upon his
visual
honesty,
which
took
account
of
marks
left
by
corsets
and lac-
ings,
the vulgarity
of flesh,
the ravages of
time.
Above all,
he
sought
the
various combinations of the
plastic figure,
the
unexpected
nature
of
movements where, screened
fr
all
eyes,
a
woman
furbishes her
bodv
as
if it
w-ere
weapon.
In this
passion
for honesty he
was
led to be
more
and
mo
daring,
almost
to the
point of oddity in
his
last big
paste
with
their jig-saw attitudes.
These
final works mark
a
retu
to
an
almost geometric
conception
of
form.
Solving n
problems
of draughtsmanship, perspective
and
colour,
revelled in associating flesh tones,
in
a subdued
lighting,
wi
objects
—
dressing
gowns,
porcelain,
glassware-
—
creating
wealth of
high-lights.
Here
he
succeeded
in achieving
complete coalescence
of
modelling,
value
and line,
so
that
h
figures
have the
density
of
bronze, and
at
the same
time a
penetrated and haloed by diffused
light.
This
series
of
nude
thanks
to
a
triple mastery
of mind,
eye and hand,
possess
a unique
value.
Degas
did
not
hesitate to enter
houses
of
prostitution
continue
his observations, but
in
that
sphere
he
produc
only
a few
satirical monotypes. In an
environment
whe
Toulouse-Lautrec was
to
disport himself
with bravado. Dega
was too
enamoured
of
art
in
the
abstract, and
too much
t
conservative
bourgeois, to be
drawn into
participation
social concepts.
Once more the
key to
the man
is found in
his
choice
subjects.
Society, with
its
artifice
and
convention, had
n
8/17/2019 Edgar Degas.pdf
13/56
more
appeal tor him
than
commercial
vice.
The
working
man
did
not
attract him,
nor did
he go
to
the fields to seek
the
peasant
at
his plough. But
he
found movement
and
colour
and
character
nearer
home, in
his
laundresses.
The
manner in
which
they
apply weight
to
their irons,
the
tired
one
who
stops to
yawn in
our
faces,
the angle
at which
they
bend
to balance
their
large baskets,
all
present
the
problems
in
drawing
he
was
so
avid
to
solve.
The
bluish-white
of
starched
linen
is
a
fine
pretext
for
rare
and
subtle
harmonies.
Milliners,
too,
appealed
to
his
fancy and
gave
him
a
logical
excuse
to
present his
figures
behind
a
colourful
foreground
of
hats.
Whether
it
was
a question of a Greek
myth,
a
race-course,
a dancing girl or
a
nude, his method, his vision, and
his syn-
thesis were
unvarying. Above
all,
he
was
a
draughtsman,
limiting
himself
as a
painter
to
deep
colour scales
in
portrait-
ure,
sober ones
in landscape.
Polychromy
made but
a
weak
appeal
to
him.
He
considered
that
too
much
sacrifice
in the
pursuit of fugitive
effects
of sunlight
was an
error, and
that
the
atmosphere
had no
need
to
be
breathable.
In
the field
of engraving,
Degas
displayed a
curiosity
in the
technique
that led him to constant
experimentation.
His subjects
were
usually partial
replicas of
his
sketches
for
painting,
but in
the
ingenuity of
the
methods
employed
we
recognize
the
patient research
of
an
artist
determined
to
extract from
matter
everything
it
has
to
give.
When
he
was
about sixty
he did
a
magnificent
series
of
little evocations
of
nature
in water-colour,
oil
and
pastel,
without a single figure.
He
wrote
to
Durand-Ruel:
You
are right,
what
beautiful country.
We
take excur-
sions
every
day and
these
would
end by turning
me
into
a
landscape
painter,
if
my
wretched eyes did
not refuse
to
agree
to such a transformation.
I
am sorry
for
you
in
your
prison-
like
Paris,
yet
you
will
see
with what
serenity I am going to
return there.
And
to
Pissarro:
There
is
no
need
to
compliment
you
on
the artistic
qual-
ity of your
vegetable gardens. Only,
as
soon as you
feel
you
are
a little
more
used
to
things,
try something
bigger
and
more
complete.
He
had
a
few
friends
to
whom
he
remained
faithful all
his
life, dining with them
rarely,
and
only
upon
agreement
that
they abandon
all
ceremony.
I
shall
come, he said
to
Vollard,
at
seven-thirty;
no
flowers
on
the table,
please, and
lock
up
your cat, and
be
sure
no one
brings a dog.
If
there
are
ladies,
will
they
come
with-
out perfume?
What horrors, all those
odours
when
there
are
things which smell
so
good,
like
toast
. . .
and
very few
lights.
My
eyes,
my
poor
eyes
And calling
on
friends who
were
out he
left a note:
Monsieur Degas,
deeply moved,
presents his
New
Year
greetings to Monsieur
and Madame
Bartholome.
He
is
obliged to confess
that he does
not
possess
a
visiting-card
a
that,
when
he
finds
people are not
at
home,
he
writes
his
na
on
the margin
of
the
concierge's newspaper;
or an
envelo
is
handed
to
him.
His witty
remarks
gained for
him the
reputation
of
bei
bitter and
caustic, but they
were
usually inspired by
sham
pretentious
mediocrity.
Moreau's
predilection to
overload
his
academic
nud
with
precious stones
drew
from Degas,
despite
his
friendshi
the words:
He
adorns
the
Apollo
Belvedere with
a
watc
chain. And when
that same painter
affected
to
live in
mystic retreat.
Degas
said, He
is
a
hermit, but
well acquain
ed
with
the
time-table.
Of
Mcissonier's battle scenes
he
saitl, Kverything
is
ir
but
the cuirasses,
and
when
a
slovenly painter was decorat
with
the
I-t'gion
d'honneur
and went from cafe to cafe
showi
his red
ribbon,
Degas
exclaimed,
Well,
that's
one
more sta
on
his person.
A
picture
which
he
had sold
for 500 fran
fetched 400,000 at auction.
When
the reporters
came
ask
his impressions
he
said,
My
impressions
are those
of
horse
who,
having won the Grand
Prix,
receives
his
usual b
of
oats.
And
to
a young painter who was boasting
of h
material
success he said, In
my
time, Monsieur, we
did
n
get
on.
We
know
nothing of Degas'
relation to any particul
woman.
That
there was
one in his
youth
we
are
led
to
belie
by
some
poems of a
sentimental
nature.
It
is possible
th
this frustrated love-affair aggravated
his natural misanthrop
He
remained
on friendly
relations
with his family
and
h
many
acts of kindness to his
friends
were
so furtive
th
Forain,
Boldini, Mary
Cassatt
and
Zuloaga
have
careful
refrained
from
bearing
witness
to them.
He worked as
long
as
it was physically
possible, until
was
almost blind.
Then
he
turned
to
the use of
vivid
colou
and
to modeling.
He wandered about
the streets
of
his b
loved
Paris, the image of Homer. Toward
the
end
mone
was not
plentiful,
but his
wants
were
simple.
The war
1914
brought
him
to the verge of despair,
and on Septemb
26,
1917,
he
died, at
the
age of eighty-three.
We
have not
yet reached
the time
for
a complete evalu
tion
of Degas. All
we
know
is
that
his
singular
and
patie
genius was sustained
by the
gifts
of
one
of
the most
marv
lous draughtsmen
ever
known,
that
he
was dominated
alwa
by
a search
for
truth, and that
with all
his audacity,
he
r
mained
fundamentally
a
classicist.
As to the
man
himself,
one
cannot love him. He did
n
ask
to be
loved. He
was bitter, introspective, and
lone
with that
mighty
solitude
which
only the great artist,
stru
gling
alone
with
his
media,
knows.
No
one devoted himse
to the worship of
art
more fervently. His cult
for
it
ove
shadowed ambition,
honours, money
or
even human
re
tionships. Wc
cannot
help but admire him.
8/17/2019 Edgar Degas.pdf
14/56
SUGGESTED READING
Anore,
a.: Degas,
Pastels
et
Dessins,
Paris,
Braun,
^o
nl.
1934.
Ai.KXANDRE,
A.:
Degas
graveur
et
lithoijraphe,
I.es Arts, No.
171,
1918.
Basi.er
et Klnstler:
I.a
neinture
indtpendante en
France, t.I,
de
Monet
a
Bonnard, Paris,
1929,
in-80.
Bazi.v, (j.: Degas
et
I'olijecfif, Amour
de
I'Art,
1931
;
Degas
sculp-
teur,
Amour
de I'Art,
1931.
Benedite,
I..:
La
peinture
tran^aise, I'Art
et
les artistes,
1911;
I.a
reorganisation
du
I.uxemliourg,
Revue
encyclopediquc,
Aug.
2S,
1S97.
Bkkm
l)^,
H.: I.es graveurs
liu XIX' siecle,
1886,
vol.
5.
BiANHiK,
J.-F..:
Portrait
de
Degas, Formes,
Feb.
1931.
Barthol-
ome
et
Degas, Art vivant,
19JO.
Les
arts
plastiques
sous la
1
11*^
Repui>limie, Paris,
Kditions
de France,
1931.
Propos
de
peintres,
de
David
a
Degas,
Paris, F.miie
Paul,
1919.
Bru-o.\,
F..:
Psychologic d'art,
les Maitres
de
la
fin
du XIX siecle,
Paris,
1900.
Charles,
F..: Les
mots
de
Degas,
Renaissance
de
Part
fran(,ais,
April,
1918.
Chiai.iva: Comment
Degas
a
change
sa technique
du
dessin,
Bulletin
-Art I' ran9ais,
1932.
CoQiioT, (i.:
Degas,
Paris,
Ollendorf,
1924.
CoRTissoz,
R.:
Personalities
in
Art.
Davot,
a.:
F.dgar
Degas, La Revue Rhenane.
Delteii.,
L.:
Fdt;ar
Degas,
Le
Peintre-graveur
illustre, Paris,
1919.
DiRET,
T.
:
Critic|ue
d'avant-garde,
Paris,
Charpentier,
1885.
DuRAXTV: La
nouvelle peinture, Paris,
Dentu,
1876.
Faure,
F,.:
Histoire
de
I'Art,
L'.Art
moderne, Paris,
1926.
Feneon,
F*.:
Les
Impressionnistes
en 1886,
Paris, La
Vogue,
1886.
Fosca,
v.:
Delias,
Les
albums
d'art,
Druet, Paris,
1927.
Degas,
Paris,
Societe
des
Trente,
1921.
1 ierkns-Ge\aert:
Nouveaux essais
sur I'art contemporain,
Paris,
.Alcan,
1903.
Focii.i.oN,
H.:
La
peinture
au XIX*
ct
XX
siecle,
du
Realisme
a nos
jours,
Paris,
192S.
Gauhix,
a.: Degas,
utstrallringi,
national
museum
sal
fort
till-
fiilliga
utstliillningar,
23
Jan. 13
Feb., Stockholm,
1920.
Gefkko^',G.:
Deg.;s,
I'Art
et
les artists,
1908.
Histoire
de
I'impres-
sionnisme
(3rd
series of
La
We
Arristique,
Paris, Dentu,
1894.
Gi.ASER,
Curt:
Degas statuaire, Kunst und Kiinstler,
1922.
(lONCOURT,
F..
(de):
Memoires
de
la vie litteraire,
Paris,
Fasquelle,
9
vol.
Grapi'E,
G.:
Degas,
L'Art
et
le
Beau,
Paris,
191
1.
GuERix,
M.:
Remarques
sur
les
portraits
de
famille
peints
par
Degas, (Jazette
des
Beaux-Arts,
June,
1928.
Dix-neuf
portraits
de
Degas par
lui-meme, Paris, Marcel Guerin,
1931.
Note
sur les monotypes
de
Degas,
Amour
de
I'Art,
1924.
Lettres
de
Degas,
recueiilies et
annotees par Guerin,
preface
de
Daniel
Hali\
y,
Grasset,
1931.
Heri^,
H.: Degas,
Paris,
Alcan,
1920.
Degas, coloriste,
.Amour
de
r.Art,
1
904.
Hopi'E,
R.: Degas, Stockholm,
1922,
Fransk Konst.
HoiRru(.>,
L.:
F.dgar
Degas,
Art
et
Decoration,
Oct.
191
2.
Hivc.HE,
R.: Degas
ou la fiction realiste, Amour
de
I'Art,
1931.
IkvsMAXs,
J.-K.:
Certains
(critique
d'art),
Paris,
Librairie
Plon.
I.'art
moderne,
p.
249,
Librarie
Plon, Paris.
J
\MOT,
Pail:
F.ditions
de
la
Gazette des
Beaux-.Arts,
Paris,
1924.
La
peinture
en France,
Paris,
1934.
I ne salle
Degas
au Louvre,
Amour
de I'.Art,
1931.
Degas,
peintre d'assiettes. Gazette
des
Beaux-.Arts,
1924.
Jewell
&
Crane:
French
Impressionists
and their
contempo-
raries,
N.
Y., Hyperion
Press,
1944.
KLi.\f;soR,T.:
La
peinture
fran^aise
depuis
vingt
ans,
Rieder,
1921.
I.AFORr.LE,
J.:
(F'uvres
completes. III, IMelanges
posthumes,
Paris,
/53-
I.ECOMTE,
G.:
L'art impressionniste, Paris,
Chamerot et
Renouard,
1892,
La
crise
de
la peinture
franfaise,
L'.Art
et
les artistes,
1910.
I.AJOM),
P.:
Degas, Paris, Floury, 2 vol.,
1918-19.
Lierkrman.v,
Max: Degas,
Berlin,
1922,
Cassirer.
J.EMOisvE,
P.-A.:
Degas, I'Art
de
notre
temps,
Paris,
1912.
Degas,
Paris,
1913,
Librairie
Centrale
des
Beaux-.Arts.
Les statuettes
de Degas,
Art
et
Decoration,
191
9.
Les carnets
de
Degas
au
Cabinet
des Fstampes,
Gazette
des
Beaux-.Arts,
1921.
Le
por-
trait
de
Degas
par lui-meme,
Beaux-.Arts, Dec.
i,
1927.
Degas,
Rev.
dc
L'Art,
June
1924.
Lerov,
a.: Histoire
de
la
peinture fran^aise
(i
800-1933),
evolution
et ses maitres,
Paris,
1934.
MacColi.,
D.:
Nineteenth Century
Art, Glasgow,
1902.
Ma.vso.v,
J.
B.:
The Life
and Work
of
F.dgar
Degas,
London,
19
The
Studio,
Ltd.
Marcel,
H.:
La peinture
fran^aise
au XIX^ siecle,
Paris,
1905
Mauclair,
C:
L'Impressionnisme, son
histoire,
son
esthetiq
ses maitres, Paris,
Librairie
de I'.Art ancien
et moderne,
19
Les
Maitres
de
I'lmpressionnisme,
Paris,
Olleniiorff,
19
Degas, Hyperion
Press, Paris,
1936.
Rev.
de
I'.Art ancien
moderne,
1903.
Meier-Graefe,
J.:
Degas, London,
1923.
Ernest Benn,
L
Trans, by
J.
Holroyd-Reece.
Der
Moderne
Impressionism
Berlin, I9O4.
Meli.erio,
a.:
L'n
album
de
reproductions
d'apres
les
dessins
M.
Degas,
I'Fstampe
et
I'Affiche,
1898.
Degas, Revue
Art
tique, April,
189^1.
MoNCAx,
A.:
Degas
master observer:
seen
at
Philadelphia,
T
Art News,
1936.
MuTHER,
R.: Historv of Modern Painting,
London,
4
vols.
19
J.
M.
Dent
ik
Co.
Moreal-Nelaton,
E.: Deux heures
avec
Degas,
interview po
hume. Amour
de
I'.Art,
193
1.
Moore, George: Modern Painting,
London,
1893.
Confessi
d'un
jeune
Anglais,
Paris,
Stock,
I92
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PORTRAIT
OF
MADKMOISF.LLE
DOBIGW
Kmisthalle,
Hamburg
18r,9
Panel
14
'
,
x 12
«
,,'
8/17/2019 Edgar Degas.pdf
16/56
8/17/2019 Edgar Degas.pdf
17/56
OIL
SKETCH FOR
YOISG
SP^RTASS
EXERCISISC
c. I860
S'/'
x
11
The Eo^%
Museum
of
Art,
Harvard University
8/17/2019 Edgar Degas.pdf
18/56
8/17/2019 Edgar Degas.pdf
19/56
THE
MORNING BATH
c.
1883
Pastel
on paper
273/'
x
17
The
.Irt
histitttte
of
Chicago
,
Potter
Palmer
Collection
8/17/2019 Edgar Degas.pdf
20/56
I
ITER
rill-:
H.rrii
Oil
46'./'
X
381^'
Ambro'ise
I
'olhirtL Paris
8/17/2019 Edgar Degas.pdf
21/56TWO
IROXERS
Paris
1882
Oil
32
X 28
8/17/2019 Edgar Degas.pdf
22/56
THE DUKE
^ND
DUCHESS
OF
MORBILLI
1855-56
Oil
45
>^
x
35
National
Gallery
of
Art,
IVashington, D. C,
Chester Dale
Collection
{Loan)
8/17/2019 Edgar Degas.pdf
23/56TH'O
SISTERS
c.
1867-68
Oil
40
x
32
Photo,
Courtesy
of
Paul
Rosetil/er^
cs*
Co.,
New
York
8/17/2019 Edgar Degas.pdf
24/56
./r r//K
RJCES
(CENTLEMEy RIDERS)
1877-1880 Oil
26H
x
32'
T/ir
/.outre
Mttseum, Paris
8/17/2019 Edgar Degas.pdf
25/56
STCn)'
OF
Dll.Ci)
MJRIEI.I.I
Drawing
/'VCs
M i-
8/17/2019 Edgar Degas.pdf
26/56
DEG/IS'
FATHER
LISTENING
TO
PAGANS
c.
1872
Oil
31>i x24K
Colleclion
John
T.
Spanltiin^, Hosloii
8/17/2019 Edgar Degas.pdf
27/56C.iFE
COXCERT c.
1875-76
Pastel
14 »/'
x
IQi
•/'
Lyons Museum, France
8/17/2019 Edgar Degas.pdf
28/56
THE
BALLET
Pastel
12^5i xlO
The
Corcoran Gallery
of
.Irt^
U'ashi>iglon,
D. C.
8/17/2019 Edgar Degas.pdf
29/56BALLET SCESE
1878 Oil
10^
x
8)4'
8/17/2019 Edgar Degas.pdf
30/56
// (J.\Li\
II
/
77/
CIIR y
\S\/\T//EA/
i MS
1865
Oil
29 x36^
T/ie
Meh-opolitau
Museum
of
Art,
Xctv
York
8/17/2019 Edgar Degas.pdf
31/56M.iKY
C.iisS.iTT
.rr
THE
LOLl'RE
c.
1877 J^istel
27)
/'
x
20'
/'
8/17/2019 Edgar Degas.pdf
32/56
-^•CiH^.g,.,
1
'
.
//
y
1
P'
Left
to
right:
Drawings, court
of
Carroll
Carstairs.
New
Yor
City Art Museum
of
St.
Loui
The
Art
Institute
of
Chica
Phillips
Memorial
Galler
Washington,
D.
C;
Natio
Gallery
of
Canada, Otta
Paul
Rosenberg &
Co.,
N
York,
City
Art
Museum
St.
Louis.
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33/56
DJNCfXC
GIRLS
IX
HUE
Dr.
Albert
C.harpt'ntin\ Paris
c.
1S9()
Oil
32
X
28
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34/56
PORTR.IIT OF y^MES
TISSOT
c.
1868 Oil
595/^
X
44
The Mt'tropolilan
Mi
8/17/2019 Edgar Degas.pdf
35/56
AFTER
THE
lUTH
1885 Pastel
26H x20K
Private
Collection,
U.
S.
A.
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36/56
THE
MII.I.ISERY
SHOP
c.
1882
Oil
39 x43J4
Tilt'
.ht
Institute
oj Chicago,
Mr. and
Mrs.
I.. I..
Cnburu
Collection
8/17/2019 Edgar Degas.pdf
37/56
8/17/2019 Edgar Degas.pdf
38/56
PORTRAIT
OF DEC.
IS
AXD HIS FRIEND
VALERNE
The Louvre
Museum^
Paris
1868
Oil
46H x35
8/17/2019 Edgar Degas.pdf
39/56
H.n.F-LESGTH
STUDY
OF
IX'/\C/.\(;
CIKLS
Toledo
Miist'tim
(>J
Art
1899
Pasrel
24
x
26
4
8/17/2019 Edgar Degas.pdf
40/56
8/17/2019 Edgar Degas.pdf
41/56
r
SI
^^^^^B
^
^
^^^^^^^^^^^^^^^^^^^^^^r
^
^^^^^^^^^^B
^B It
8/17/2019 Edgar Degas.pdf
42/56
L
«3V'^
S^
'
RUSSL^X DJNCJNG
GIRLS
Ambroise VoUard^
Paris
Pastel
263^
x
20
8/17/2019 Edgar Degas.pdf
43/56
THE
REHEARS.
iL
1878-79
Oil
18i, x23»k
Copyright The Frick
Collection,
New
York
BALLF.T
M.1STER
Drawing
Collection
Henry
/'.
McHhenny,
Philadelphia
8/17/2019 Edgar Degas.pdf
44/56
POUriXG
1875-76
Oil
12M xl8i.t
The Metropolilau
Museum
of
Art, New York
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UNCLE
^ND
NIECE
.
i862
Oi
The
,7;7 lustitute
of
Chicago,
Mr.
and
Mrs. I..
/„
Cohurn
Collection
3814
X
45
K
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MLLE.
HORTENSE
VALPINCOS
Oil
28
x
4
Courtesy
of
IFildensteiu
^
Co.,
New
York
PORTR.
II
T
or
JL
LIE liEl.I.El.l.l
14
H
x
9*
Drawing on
caniboard
The
Dumharloii
Otiks
Research
Library
ami Coilecliotty
Harvard
University (Mr. and
Mrs.
Robert
Woods
Bliss
Collectio
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D.^SCIXC.
CARL
I'lLISKlXC,
HER
Al'DlEXCE
The
Louvre
Museum^
Paris
1877
Pastel ^O'/'xSO^
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If'OM
/IN
/IT
HER
TOILET
1882 Pastel
20
x
18^
Collection
Hermafi Shulman,
Stamford^ Conn.
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OF
DIECO
M.iRTELLl
1879 Oil
30'./'x46>^'
Jacques
Seligmanfi, Paris
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T
/•^
*
•
^'
liOM^S
COM
H
IXC
HER HAIR
Courtesy
of
Dnrmid-Rtiel^
New
York
Pastel
2814
X
235^
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ROUAUL
by
EDWARD
ALDEN
I
he work of
one
of
the
most
ligurc-s t)f
modern
art
is
put^li
new
edition
that captures
t
vehemence
of his
unusual
pal
H
reproductions
in
full c
Hi
repr«)ductions
in
black
M
X
14
. . .
S3.00
RODIN
by
PHILIP
R.
ADA
Rodin's
fame is
as great
in
hi
as it is throughout
the world.
tion of
his
most
famous
and
work
is
presented in
this
vol
16
two-tone plates
Wate
40 reproductions
Sculff
M X
\\
. . .
S3.00
Published
in
this se
RENOIR
by
ROSAMUND
F
Pierre Auguste Renoir
is one
most modern
old masters.
He
mated
a
quarter
century after
8
reproductions
in
full
co
48 black and
white
half-to
II X
1-i
. . .
S3.()()
MARY
CASS
by
MARGARET
BRE
Mary
Cassatt,
only
recently
one of our
most
accomplishe
sents
the
anomaly
of
being
a
th
ican.
although
she acquired h
st)le in
Paris
under
French
i
8
reproductions in full
col
48
black
and
white half-to
M
X
14
.
. . S3.(H)
CEZANN
by
EDWARD
ALDEN
Modernism's
debt
to
Paul
Cez
mous and
many-faceted.
He
is
the
father
of
Modern
Art.'
8
reproductions
in
full
col
48
black
and
white
half-ton
11
X
14
.
.
. S3.00
PiihUshed by
THE
HYPERION
PRES
Distrihtdted
by
DUELL,
SLOAN
&
PEAR
NF>X'
YORK
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