If Paris was the "bank, boulevard, and brothel" of Europe, then Degas was its most affectionate documentarian. He moved easily between the elegant sidewalks of the Champs-Elysees and the city's glamorous salons to its working class bars and seedy bordellos. As readers turn the pages of this exquisite collection they will feel as if they are looking into Degas' private sketchbook. The sketches in this book possess the quality of immediacy and simplicity that mark his best work, including drawings of women bathing and dressing or posing as studies for his finished portraits. These beautiful reproductions display the artist's bold composition and draftsmanship. Printed on high-quality stock, this volume has the look and feel of an artist's own sketchbook, making it the perfect keepsake for collectors of fine art, erotica, and fans of Degas in general.
An introduction to the life and work of nineteenth-century French artist Edgar Degas, discussing his cultural and historical importance, and including a chronology and over one hundred color illustrations with explanatory captions.
F. Villot, Notice des tableaux. . . du Musée Impérial du Louvre, 3 vols., Paris, 1855, II, no. 99. ... _On the influence of Veronese's version on French art at the time of La Fosse, see K. T. Parker and J. Mathey, Antoine Watteau, ...
In this fascinating monograph, author Richard Thomson explores this brilliant work in detail, revealing both the intricacies of its composition and the source of the emotional pull it immediately exerts upon the viewer.
Discusses the life of Edgar Degas and describes his unique style of art.
Contains reproductions of the artist's work, extracts from his correspondence, and a study of the artist's personality and work.
Susan E. Meyer, Edgar Degas (New York: Harry N. Abrams, 1994) 37. PAGE 48 “I was in love with art.” Forbes, “Degas: a passion for perfection,” 3 of 9. PAGE 49 “And very few lights.” Kendall, Degas and the Little Dancer, 305.
But there is no single text that better stokes the fire than Degas and His Model, a short memoir published by Alice Michel, who purportedly modeled for Degas.
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.
Edgar Degas seems never to have reconciled himself to the label of "Impressionist," preferring to call himself a "Realist" or "Independent.
Degas: Form and Space