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Author: George Moore
Publisher: Getty Publications
ISBN: 1606066099
Category : Art
Languages : en
Pages : 116
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Book Description
Following a rigorous academic training as a young man, Edgar Degas (1834–1917) brought the traditional methods of a classical history painter to bear on the life and society of his own day in works treating a range of subjects, prominently including the world of dance. This engaging volume brings together intimate portraits of the artist by two of his earliest and most important champions. The Irish writer George Moore (1852–1933) and the German-born English painter Walter Sickert (1860–1942) belonged to a network of British and French writers and artists; through this circle they became friends with Degas, whose Paris haunts and studios they both frequented. Long difficult to find in print, their groundbreaking accounts represent some of the most vivid responses to Impressionism in English and offer fascinating insight into the life and personality of one of the late nineteenth century’s most important painters. An introduction by the art historian Anna Gruetzner Robins situates their memoirs, which are supplemented here by vivid color illustrations and historical photographs, in the context of their time.
Author: George Moore
Publisher: Getty Publications
ISBN: 1606066099
Category : Art
Languages : en
Pages : 116
Get Book Here
Book Description
Following a rigorous academic training as a young man, Edgar Degas (1834–1917) brought the traditional methods of a classical history painter to bear on the life and society of his own day in works treating a range of subjects, prominently including the world of dance. This engaging volume brings together intimate portraits of the artist by two of his earliest and most important champions. The Irish writer George Moore (1852–1933) and the German-born English painter Walter Sickert (1860–1942) belonged to a network of British and French writers and artists; through this circle they became friends with Degas, whose Paris haunts and studios they both frequented. Long difficult to find in print, their groundbreaking accounts represent some of the most vivid responses to Impressionism in English and offer fascinating insight into the life and personality of one of the late nineteenth century’s most important painters. An introduction by the art historian Anna Gruetzner Robins situates their memoirs, which are supplemented here by vivid color illustrations and historical photographs, in the context of their time.
Author: George Moore
Publisher:
ISBN: 9781843680802
Category :
Languages : en
Pages : 0
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Book Description
Two essays remembering Degas by the most acute observers of the avant-garde art of their time, Walter Sickert and George Moore. Introduced by Professor Anna Gruezner Robins, a leading expert on Degas and his British admirers
Author: Edgar Degas
Publisher: Alfred A. Knopf
ISBN:
Category : Art
Languages : en
Pages : 88
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Book Description
Drawings and color reproductions of Degas's paintings are presented along with excerpts from his writings.
Author: Pen2 Paper
Publisher:
ISBN: 9781075592577
Category :
Languages : en
Pages : 152
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Book Description
Journals are great for writing down ideas, taking notes, writing about travels and adventures, describing good and bad times. Writing down your thoughts and ideas is a great way to relieve stress. Journals are good for the soul!
Author: Julie Merberg
Publisher: Chronicle Books
ISBN: 9780811840477
Category : Juvenile Nonfiction
Languages : en
Pages : 54
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Book Description
Provides a simple introduction to French artist Edgar Degas and his pastel paintings of ballerinas.
Author: Darren R. Rousar
Publisher:
ISBN: 9780980045444
Category : Art
Languages : en
Pages : 134
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Book Description
From the Introduction: If you think about it, all life drawing and painting is at some point being done from the artist's memory, even if that memory is only a few seconds old. Every time the artist takes their eyes off of the model or scene and looks at their paper or canvas, their visual memory is involved. What if that artist's visual memory was highly trained? That artist might need the model for a shorter period of time, or she might have a more productive time when the model is in pose. He might be better at painting all of the fleeting effects that nature throws at us when we are landscape painting en plein air. Although I encourage you to consistently engage in memory-drawing practice, it should not supplant your regular art exercises. Memory-drawing ought to be done in addition to your regular art training, not instead of it. In a perfect world it would be integrated into traditional arts instruction, but the reality is that you will most likely be training your visual memory on your own. Memory Drawing: Perceptual Training and Recall exists to guide you in doing just that. It will also help you improve your abilities to remember fleeting effects, seize essentials, and even enhance your imagination.
Author: Nathalia Brodskaya
Publisher: Parkstone International
ISBN: 1783102861
Category : Art
Languages : en
Pages : 276
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Book Description
Degas was closest to Renoir in the impressionist’s circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre’s studio; most likely he first met the future impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous painter’s memory retained the particularities of movement of horses wherever he saw them. After his first rather complex compositions depicting racecourses, Degas learned the art of translating the nobility and elegance of horses, their nervous movements, and the formal beauty of their musculature. Around the middle of the 1860s Degas made yet another discovery. In 1866 he painted his first composition with ballet as a subject, Mademoiselle Fiocre dans le ballet de la Source (Mademoiselle Fiocre in the Ballet ‘The Spring’) (New York, Brooklyn Museum). Degas had always been a devotee of the theatre, but from now on it would become more and more the focus of his art. Degas’ first painting devoted solely to the ballet was Le Foyer de la danse à l’Opéra de la rue Le Peletier (The Dancing Anteroom at the Opera on Rue Le Peletier) (Paris, Musée d’Orsay). In a carefully constructed composition, with groups of figures balancing one another to the left and the right, each ballet dancer is involved in her own activity, each one is moving in a separate manner from the others. Extended observation and an immense number of sketches were essential to executing such a task. This is why Degas moved from the theatre on to the rehearsal halls, where the dancers practised and took their lessons. This was how Degas arrived at the second sphere of that immediate, everyday life that was to interest him. The ballet would remain his passion until the end of his days.
Author: Theodore Reff
Publisher: Metropolitan Museum of Art
ISBN: 0870991469
Category : Painting, French
Languages : en
Pages : 354
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Book Description
"More than any other artist in the Impressionist group, Degas was fascinated by ideas and consciously based his work on them. "What I do is the result of reflection and study of the great masters," he once confessed, "of inspiration, spontaneity, temperament I know nothing." Yet his work has been understood very inadequately from that point of view. Publications on him, once dominated by memoirs inspired by his remarkable personality, are now concerned with cataloguing and studying limited aspects of his complex art. Its intellectual power and originality, which were evident to contemporary writers like Duranty and Valery, have not been studied sufficiently by more recent critics. It is this side of Degas's art--as seen in his ingenious pictorial strategies and technical innovations, his use of motifs like the window, the mirror, and the picture within the picture, his invention of striking, psychologically compelling compositions, and his creation of a sculptural idiom at once formal and vernacular--that is the subject of these essays. Inevitably, given the range of his intellectual interests, the essays are also concerned with his contacts with leading novelists and poets of his time and his efforts to illustrate or draw inspiration from their works. Throughout, the author makes use of an important, largely unpublished source, the material in Degas's notebooks, on which he has recently published a complete catalogue"--Publisher's description.
Author: H. G. E. Degas
Publisher: Courier Corporation
ISBN: 0486139360
Category : Art
Languages : en
Pages : 112
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Book Description
Carefully reproduced from a rare 1923 limited edition, most of these magnificent drawings are unavailable elsewhere in published form. Dancers, nudes, portraits, travel scenes, and more. 100 drawings, including 8 in full color.
Author: Edgar Degas
Publisher: Metropolitan Museum of Art
ISBN: 0870995197
Category : Art, French
Languages : en
Pages : 640
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Book Description
Katalog towarzyszący wystawom w: Galeries Nationales du Grand Palais w Paryżu, 9 luty - 16 maj 1988; National Galery of Canada w Ottawie, 16 czerwiec - 28 sierpień 1988; Metropolitan Museum of Art w Nowym Jorku, 27 wrzesień - 8 styczeń 1989.
