Degas Vs Mary Cassatti

Degas Vs Mary Cassatti
Looking Deeper into the Canvas In many minds art is, art. However, when you take a deeper look
you will notice even the slightest flick of the hand while holding a paintbrush can give a piece a
totally different meaning. When comparing, and contrasting artists' work it is very important that
you are visually literate. In many cases art is not appropriately appreciated due to only seeing the
surface, and in some cases ethnocentrism. Currently, I am taking a closer look and the work of Mary
Cassatt and Edgar Degas. These two artists are very similar in choices of technique, but when
adequately taking a deeper look into artist you will realize that no two artists are truly similar. For
instance, when looking at pieces from Mary Cassatt such as
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Edgar Degas : The Mystery Of Degas
Edgar Degas once stated, "A painting requires a little mystery, some vagueness, and some fantasy.
When you always make your meaning perfectly plain you end up boring people" (Frank). Degas
style of painting reflects this quotation from him. He keeps a yearning within the audience to
understand the true meaning of his paintings. The mystery of his paintings is part of the reason that
he is popular. This paper will discuss the painting The Interior, and why it fits the mystery of Degas.
Hilaire–Germain–Edgar De Gas is now commonly known as simply Edgar Degas. He was born on
July 19, 1834 in Paris, France. He was born to a wealthy family, and he was encouraged to become
an artist, but not as a career (The Art History). Degas artwork was part of the Impressionist
Movement. The Impressionists moved from realistic paintings to the expression of emotion in their
paintings. However, according to Kleiner, "Unlike Monet, who personifies Impressionism for most
museum–goers, Degas was not concerned with light and atmosphere. Indeed, he specialized in
indoor subjects and made many preliminary studies for his finished paintings. Degas's interests were
primarily recording body movement and exploring unusual angles of viewing. He was fascinated by
the formalized patterns of motion of the classical ballet performed at the Paris Opéra and with the
training of ballerinas at its ballet school" (849). He paints similar subject matters to the
Impressionists, but puts his own twist on them. The

St. Louis Art Museum
St. Louis Art Museum
As Edgar Degas once said, " Art is not what you see, but what others make you see". The St. Louis
Art Museum is a place for artist to display their art and give spectators the option to see art from a
new perspective. This was the case for me. As we walked up to the beautifully structured building
that stood so tall and wide, my expectations were extremely high. At first glance I notice the bronze
statue of King Louis IX of France riding high on his horse. From this statue alone, my expectations
of the art museum grew stronger. I have never been to an art museum before, so I wasn't sure of
what to expect. My first expectation was to see huge detailed sculptures right as I walked through
the door. That expectation didn't come true.
Once we arrived, we looked up possible exhibitions that we could attend. A museum employee
recommended African textiles. After hearing the title, I immediately expected this exhibition to have
complicated and precise components to the tiles. African textiles are, in fact, made of wool or fine
animal hair in a weave patterns. Although the exhibit was interesting, it wasn't what peaked my
interest.
The St. Louis Art Museum has many intriguing pieces of artwork, but my eyes seemed to navigate
towards Thomas Cole's pieces. Research has shown that Thomas Cole was best known for his
landscape art, but through the portal of America's wilderness and it's association of God. Nature,
human life, and mortality were the key viewpoints

How Did Edgar Degas's Use Of Visual Impairments
A comparative analysis of two works by 20th and 21st century artists, Edgar Degas and John
Bramblitt, where a discussion of their lives, their techniques and of course their works comes into
focus. One of the main comparisons between these two artists is how visual impairments in both
their cases affected their works. Whilst Degas's works became more hurried and quick although not
losing his precision, Bramblitt's work still remained patient and calculated.
Dancers ca. 1900 by Degas is a study drawing of what was later to be Dancers VI. It portrays three
women dancing, although one seems to be centrally placed and in focus with two other women
behind her dancing. This portrait of dancing women, is a draft done in pastels, with the expert
mixing of various other materials such as gouache, tempera. This is attributed to the experimental
nature of Edgar Degas's methods and techniques of creating his works. The lines are not sharp and
crisp as you would expect in a typical impressionist's work and yet there is the subtle detailed
definition such as the ... Show more content on Helpwriting.net ...
The first I used primarily with oil paints. Because oil paints are made from different substances they
have a viscosity and texture that varies slightly from color to color. By adding medians to the pain
such as Liquin and paint thinners I can alter the way the paint feels even more. For example:
Titanium White is very thick like toothpaste while Ivory Black is fairly runny – more like oil. By
adding a little thinner you can make it even more so. In order to mix a gray halfway between white
and black you simply mix for a texture that is halfway between the thick and thin paints. This is
actually a very precise way of mixing color because your sense of touch is extremely adept at
sensing subtle changes in texture. With practice it becomes even more so." (Bramblitt,

Degas Critique
Critique of ¨What Makes a Degas a Degas?¨ The paintings in the story of ¨What makes a degas a
degas?¨ there are many different pieces of evidence to support the central claim that the artist
wanted the people looking at the paintings to feel like they were right there of what was happening
in the picture. The paintings were quickly painted, had choppy figures, with short strokes, but the
figures still stuck out. The artist also wanted it to seem as if it was spontaneous. The artist used
colors to portray different objects in real life. For example, the black was used to look like charcoal
and looked like it. The author also made his paintings look quickly painted. This gives the paintings
a very unique feel and sometimes even realistic.

Haussmann Vs Degas
While our dear world around us progressed, enhancing the industrial revelations of our time, our
dear artists transgressed away from their masterful, life–like skill toward a more abstract,
rudimentary version of their imagined reality. Blasphemy! Haussmann had developed a Parisian
Paradise: order and stability concreted the cobbled paths in which we comfortably strolled along
midst an afternoon in the epicenter of the beloved city. The new became newer, the old– forgotten,
destroyed. Yet, the refinement of our current artists has diminished dramatically. Looking at Degas–
a fine example of the deteriorating craftsmanship of our age– the crude brushstrokes and improper
subjects juxtapose all advancements the current world has achieved! For

How Did Edgar Degas Create A Two Dancer On A Stage
Edgar Degas was a French artist, which was known as an Impressionists. He was born on the 19th of
July, 1834, in Paris, France. His full name was Hilaire–Germain–Edgar Degas. Degas went into
practice law. In 1855, he enrolled at the famous School of Fine Arts, in Paris, where he studied
under Louis Lamothe, a pupil of the classical painter Jean–Auguste–Dominique Ingres. In time,
Edgar Degas painting became popular and unique. Edgar Degas painting featured unorthodox visual
angles and asymmetrical perspectives. The painting Two Dancer on a stage includes two dancers in
standard ballet positions standing on a stage. However, there is another Ballerina who is cut off. This
allow you to see that the painting is painted on an angle making it seem realistic. This makes the
painting unique. The dancers in this painting are in full costume and mid–dance showing that this is
not a rehearsal rather a performance. The coloring of the painting is soft and is not bright. However,
the dancer's costume are very bright with pink, yellow, and green. Fiero informs us that he never
sacrificed line and form to the beguiling qualities of color and light (120). Degas' use of muted
colors stands in contrast to the vivid colors being used by the Impressionists in their landscapes. ...
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In the article of Degas and dancers, Trachtman (2003) assert, "At the ballet Degas found a world that
excited both his taste for classical beauty and his eye for modern realism". His painting became very
popular and be can be seen worldwide. The Norton Simon Museum is an art museum located in
Pasadena, California, United States. There are over 100 works by this complex artist. Two dancer on
a stage can be found at Courtauld Institute Gallery, Somerset House, and

Rural Beggars In The Ballet Class By Edgar Degas
are going onto the field after the harvest and picking up the leftovers of corn. They are a type of
rural beggars in an old traditional way. At the distance grain stack are seen piled up and the people
who harvested them are bent over exhausted after harvesting all the crops. Large bundles of grain
are visible in the background. In the foreground the three women are seen working almost in a
solitary manner, collecting the leftovers to feed their families. On close observation it is seen that
they have a white cloth tied around their hips which looks a bit heavy indicating they have been
collecting these leftovers for a while. Yet this amount is very small compared to the enormous
harvest in the background. A man sitting on a horse can be seen in the background which looks like
he is supervising the work done by the harvesters. He pays no attention to these three women at all.
Even though these women are some kind of beggars they still appear strong and well fed. The colour
used on the women is contrasting to the background. They are bent and hence and below the horizon
line. Their bent–over round shape somehow blends and adds a rhythm to the piles of harvest in the
background. Millet is trying to convey this harsh truth in a soft manner by ... Show more content on
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Degas attended the opera and was fascinated by the ballet dancers. He was allowed backstage by a
friend. He studied every movement of the dancers, their body language, each pause and every
expression on their faces. In his painting the dancers are seen stretching and adjusting their outfits.
His fascination was more towards the rehearsal than the performance on stage. The dancers in his
painting are seen playing with their hair and ribbons giving little attention to their master. They look
exhausted in the painting. Even though this is the work of an impressionist a little bit of perspective
can be seen on observing the floor of the room in the

Sketch Of Anne And Her Nurse By Mary Cassatt
Sketch of Anne and Her Nurse by Mary Cassatt is an impressionism style artwork. It is an oil and
canvas painting, done in 1897. This artwork is currently on display at the Portland Museum of Art
(Portland Museum of Art, 2017). Impressionism is a 19th century artistic movement founded in
Paris by a few artists. Mary Cassatt spent most of her adulthood in France and was one of the known
artists in the Impressionist movement. Impressionists faced criticism at first, as it was considered a
radical departure from tradition. They were looked down upon and rejected by academic institutions,
which had great power over the careers of artists. Despite the criticism they received, they were not
distracted; their goals were to promote and influence ... Show more content on Helpwriting.net ...
Mary Cassatt graduated high school in 1861 at the age of seventeen. Drawing was her passion, with
a failed attempted to convince her father to send her to Europe to study art; she started her studies in
art at the Pennsylvania Academy of Fine Arts. Her father had hopes that once she finished her
studies, she would settle down getting married and start a family of her own. Cassatt completed her
four years of study at the Pennsylvania Academy of Fine Arts in 1865; during that time period it was
unheard of for a young woman to become a professional artist, in this male dominant filed
(Witkoski, 2016). Cassatt was a very modern thinking woman for her time and after her studies at
the Pennsylvania Academy of Fine Arts, she successfully convinced her father that she needed to
learn more in Europe (Stafford PTSA, 2017).
Cassatt was one of the most respected American art students in France by 1868, but the Franco–
Prussian War forced her to return to the America. Being back in the America she struggled to fine
proper art supplies, models or a studio, an opportunity to return to Europe arose by a chance meeting
with the Catholic Bishop of Pittsburgh. She traveled to in Italy in 1871, as she was commissioned to
copy two of Antonio Correggio paintings for a Cathedral in Pittsburgh (Stafford PTSA, 2017). She
spent several years traveling through Holland, Belgium and Spain, eventually making her way back

Short Story : ' Seduced By Oranges '
CHAPTER 2
'SEDUCED BY ORANGES':
FROM HYDE PARK TO 46 GORDON SQUARE (1904–1909)
Following the death of her father in 1904, Vanessa Bell uprooted herself and her three siblings,
Thoby, Adrian and Virginia from their childhood home in Hyde Park to 46 Gordon Square in
London's Bloomsbury district. It was at 46 Gordon Square that a new way of life and art would
begin for the young artist at the age of twenty–five. Describing Bell's abandonment of their
childhood home and her role as a Victorian "mistress of the house," her sister Virginia wrote: "She
had sold, she had burnt; she had sorted; she had torn up. Sometimes I believe she had actually to get
men with hammers to batter down– so wedged into each other had the walls and the cabinets ...
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Consider too, the artist's sister, Virginia Woolf, and her contemporary essay "A Room of One's
Own", originally published in 1929. In the essay, Virginia argues that a "room of one's own" is
needed in order to successfully encourage a woman's creative freedom, writing "women have sat
indoors all these millions of years, so that by this time the very walls are permeated by their creative
force, which has, indeed, so overcharged the capacity of bricks and mortar that it must needs harness
itself to pens and brushes and business and politics." Both primary and contemporary scholarly
sources reflect this new domestic culture and the changing role for women during this time. Vanessa
Bell's abstract and decorative designs made throughout her experimental period of 1910–1915, a
visual example of this marked change. This chapter introduces Vanessa Bell's earliest forays into the
manipulation of interior space. The chapter charts her work made shortly after her move to 46
Gordon Square in 1904 and the formation of the Bloomsbury group in 1905. While Bell's works
produced at this time are generally regarded as a failure in comparison to her later collaborative
work with Duncan Grant and Roger Fry, it is important to study this time in her career because it
reveals Bell's earliest efforts and artistic influences in her search for alternative models of modernity.
The early years at 46 Gordon Square were rife with

Edgar Degas Research Paper Outline
Hilaire German Edgar Degas was born in Paris, France on July 19, 1834. He was the son of Auguste
de Gas, a banker, and Celestine Musson de Gas, an American from New Orleans. Edgar was the
oldest of the five children Auguste and Celestine had. Their family was members of the middle
class, however, for many years their family spelled their name "de Gas" which thanks to the
preposition "de" suggested that their family was from a land–owning aristocratic background. It
wasn't until 1870 that Edgar changed his name to the less aristocratic sounding "Degas."
You could say that Edgar Degas was born with artistic blood running through his veins after all his
mother, Celestine, was an amateur opera singer and his father, Auguste, would arrange for

The Dance Lesson Around 1879 At The National Gallery Of Art
Edgar Degas' The Dance Lesson around 1879 at the National Gallery of Art, Washington shows a
ballet scene. It captures young ballerinas of the Paris opera house at their most natural although no
one seems to be practicing. Instead, he lays the ballet bare as an art form defined by the elements of
preparation, waiting, recovery, fatigue, and distraction. In the artwork, no one is teaching, and it is
also not clear if any of the ballet dancers is learning although there are two or more dancers in the
mid–distance who appear to be working on classical positions all by themselves. There is a young
ballet dancer who sits in the foreground, and she looks lost in deep thought, or it could be she is
exhausted. She appears to stare at the floor ... Show more content on Helpwriting.net ...
Indeed, it portrays a transformation of social life into economic life, a theme that the artist exploited
in his representation of professional women. Specifically, Degas represented professional women in
a way that showed how their bodies were singularly "oppressed" by their work. The Dance Lesson
represents a number of women who appear to have been forced to spend long hours working on
strenuous and disciplined balletic moves. Particularly the female on the foreground to the left who
appears lost in deep thought is in a state of near collapse, sleeping on her crossed elbows. Another
lady in pink sits on a chair and looks on others lazily while at the farthest of the plane there is a
group of girls, one fanning herself, another leaning on the wall, and another pair appears to be
massaging their arching muscles. Kane cites that one can choose to see the lady in the foreground in
a red shawl as a "statue of cares and weariness." Iskin also confirms that "Degas returned to their
bodily particularity, their weariness and their shared human predicament." Most of the young ladies
in The Dance Lesson bear the signs of their labour, for some still, maintain their posture that ballet
training demands even while slumped in fatigue. This exhibition of their working status at all times
reflects a popular theme on the working woman in the late 19th century.
During the 19th century, working women had to grapple with uncertain economic conditions

Comparison Of Bath And Edgar Degas's Leaving The Bath
The differences and similarities between Jean–Leon Gerome's The Bath, and Edgar Degas's Leaving
the Bath are evident but there is more than what meets the eye. Gerome's work of art shows how
much people dependent upon one another, while Degas's work of art shows people's independence.
Being married to a wealthy person or born into a wealthy family allows people to be dependent
upon other people do their work, while those who are not wealthy do everything themselves. By
simply adding one extra person your whole perspective of the painting changes. The background
objects are positioned and made more detailed when they are important for the viewers to notice.
The different mediums allows the painters to convey their message in different ways. These
similarities and differences allow us to see the different mindsets of each of the painters as they
made these works of art.
Gerome used the medium oil on canvas to create The Bath, which shows two women, one is
washing the other in a large bathing room. One woman with black hair is fully nude and sitting on a
brown cage with bars so you can see through it, and her face is not shown. The other women is
African American and is wearing a dark green garment that wraps around her body with a yellow,
orange, and green scarf around her head. The walls are teal in color with highlights of light purple
on the wall left of the two women. On the wall there is a strip of purple flowers with a light yellow
background. Going higher up the walls, the wall changes from teal to tan, then it changes to pink.
The pink part of the wall is enclosed in a purple line around the area. In this enclosed area is words
of a different language in teal lettering with two purple designs underneath it. There is a tan
chandelier hanging from the ceiling on the left side of the painting, and underneath it is a sink that
has symbols and artistic designs going all the way around it with a pool of water underneath. The
two women are off centered to the right only a few steps away from the pool of water. The African
American woman is cleaning the other woman's back with a bath sponge in her right hand, while
she is holding the woman's right arm with her left hand. There are two towels on the wall behind

Degas Anti Impressionist
Degas, The Anti–Impressionist Impressionist I set foot in the Norton Simon Museum in Pasadena on
October 25th, 2015. As I step through an entrance marked 'European Art: 19th Century," I'm
instantly greeted by a plethora of bronze figures with a placard under each of them reading 'Edgar
Degas." I moved on to peruse the art hanging from the walls when I noticed a correspondence
between the bronzes and the paintings – both depicting unaware figures in the midst of ubiquitous
activities. I then came to a halt in front of a compelling piece. I dwelled on the two dancers' swaying
bodies progressing further into the painting. The audacious color palette trapped my eyes and the
composition guided them around. The focus was drawn to the structured ... Show more content on
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Before his artistic period, he'd enlisted for the Franco–Prussian War in 1870 since France would
grant him some painting time, but during his training, his eyesight was found to be hindered
(Guillaud 29). In Degas' old age, he indeed went blind and continued to do art in bronze, which is
why there are an increasing amount in his old age. Even in his sculptures, he mimicked the poses
that his figures would do – washing things, stretching, or dancing. When he died, Degas had led a
life of isolation due to his belief that artists shouldn't interact that much and focus on their own.
Ironically, Degas is now considered the leader of the Impressionist movement, even after his life of
rejecting such a label. He was the last of the classical artist and served as a connection for the new
Impressionist artists to emerge. The painting, Dancers in Pink, showcases Degas' progress into a
more Impressionist style of painting as opposed to his classical training. It demonstrated his great
abilities to use all the artistic elements and principles in a calculated manner to portray movement
and livelihood in his artwork, an approach that becomes inherent to

Edgar Degas And Cassatt Similarities
Edgar Degas and Mary Cassatt, has similarities and differences. They both have the same subject
matter but different in media. Degas and Cassatt both used gesture lines sketch like drawing. Both of
the painters used pastel on paper. In addition, they used chalks of medium in the painting. Each of
the artist has pale and light colors.
Edgar Degas was a French artist famous for his different paintings, sculptures, prints, and drawings.
Degas if famous for the "After bath, women drying herself." This painting was made from 1889–
1890. This painting was on a pastel paper. It is 26 5/8 x 22 ¾ in. This painting is located in
Courtauld Institute of art in London. This artwork is used by a chalk medium with color pigments
and non–greasy binders added

How Did Edgar Degas Paint The Ballerinas
Edgar Degas was making drawing of the ballerinas and dancers in 19th century. French artist Edgar
Degas created hundreds of artworks that captured the ballet world of 19th century Paris. Degas
regularly went to the Palais Garnier Opera House to observe the ballerinas. His focus was on their
natural movement as they practiced. Exploring the way the dancers bodies flowed through
performance. Edgar showed a talent for drawing while young and wanted to become and artist.
Edgar spent a lot of time at the louvre a famous art museum in Paris. He loved paint the dancers
practicing. He wanted to capture their energy, hard work and effort .He copied many of the
masterpieces of classical artists. Most people know Degas as the painter of ballerinas. Degas

Essay on Art History
The exhibition Degas: Form, Movement and the Antique at the Tampa Museum of art consist of 47
pieces from the French impressionist's Edgar Degas life. The exhibition focuses on Degas
fascination with motion, and shape and his influences from Greek and Roman art. It consists of oil
paintings, charcoal and pastel drawings, and bronze replicas of his works. Most of the pieces are
inspired by horses, ballerinas and everyday women. He traditionally used line, color and texture in
his paintings to convey the poise and grace of the figures. He also used asymmetry, imbalance and
dramatic angles to give the dancers a more naturalistic feeling. In his sculptures he typically used
shape and space to simulate movement, and used form to capture the ... Show more content on
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In Rearing Horse he uses a dramatic poses to express the dynamic movement of the horse and to
capture the horse's wild and unrestrained nature. In this piece I believe Degas was trying to express a
sense of freedom and impulsiveness. In Thoroughbred Horse Walking the statue has an incomplete
and spontaneous feeling to it that is almost like a quick drawing. It feels as though Degas is trying to
communicate a feeling of defeat and resignation with this piece. In Horse with Jockey Degas is
trying to show the connection between a horse and its rider, it is meant to show how they both move
as one during a race and the relationship between man and nature.
Both Dancer Looking at the Sole of Her Right Foot and Dancer Holding Her Right Foot in Her
Right Hand are statues of Ballerinas balancing on one leg, cast in bronze. In these pieces Degas
manages to capture the poised nature of the dancer's movements. The pieces themselves have a
rough and unfinished quality to them like a sketch or gesture drawing. These pieces show Degas
love for sculpting bodies in motion, and by looking at these pieces it was easy for me to see why
Degas found dancers such an enchanting subject; he saw even their smallest gestures inspiring and
translated that beauty into sculptures that express their rhythm and movement perfectly.
In the statues Spanish Dancer and Grande Arabesque demonstrates Degas's ability to convey
dancelike rhythm and motion in his

Differences Between Henri De Lautrec's Painting And Degas...
Lautrec once said, "I paint things as they are. I don't comment" ("Henri de Toulouse–Lautrec
quotes," n.d.). A painting can represent various objects and emotions within a square canvas, which
each artist creates an artwork with different techniques. These make each painting has it own
meaning. There are several differences between Lautrec's painting and Degas' painting, which are
the artists themselves, the subject matter, the emotions depicted, and the technique of painting.
The first difference between the paintings is the artists themselves. An artist is a person who
produces an artwork. Henri de Toulouse–Lautrec is a french man. He was born into an aristocratic
family, which seems to be beneficial to him. However, he was born with a genetic condition.
Between the ages of thirteen and fourteen, his legs were fractured, and both of them ceased to grow
because he had a skeletal disorder that causes his bones to recover improperly (Johnson & Whitten,
2003). Due to his abnormality, he was not able to do the same activities as others, so he mainly
focused on art. He became a well–known ... Show more content on Helpwriting.net ...
Composition means the position that each element placed in a painting. Lautrec managed the
position of the feature in Seated Dancer in Pink Tights by focusing on the center and painting this
ballerina in a major scale of the artwork (Martin, 2003). On the other hand, Degas painted two
objects in Waiting, and the artist divided the space into two section for each of them (Martin, 2003).
There are numerous techniques to place features into different positions. Seated Dancer in Pink
Tight, Lautrec's painting, focuses on the single object at the center of the painting, which is a
ballerina. On the other side, Degas's painting illustrates several features, which is a ballerina and a
woman dressing in black, in order to support the contrary detail of each feature. In summary,
composition is the fourth

Compare And Contrast Logar Degas And Claude Monet
Artists Comparison
(Report)
Introduction:
Impressionism is an art movement initiated in France (Paris) in 19th century. The name of this art
movement was taken from a French artist's name called Claude Monet, who painted his artwork
(impression, sunrise). Impressionism art movement combined a group of prominent French artists,
who their exhibitions became more important through 1870 – 1880s, despite the opposition from the
classical art community in France. Claude Monet's painting was provoked by the Critic Louis Leroy.
In my report, I will compare between two famous impressionist artists (Claude Monet and Edgar
Degas), they were the movement representative of the Impressionism art and they left their
distinctive mark on their paintings.
Body:
(1). Claude Monet
Personal Information
Oscar Claude Monet was a French painter who created the French impressionist painting. He was
one of the reliable ... Show more content on Helpwriting.net ...
This painting is oil painting on a canvas, known as one of Degas's masterwork and it describes a
portrait of his aunt and her husband with their two young daughters, the painting presented in the
Musee d'Orsay.
Edgar Degas and Claude Monet used different techniques and styles in their paintings. Monet has
been described as "The Driving force behind Impressionism". He studied the reflection of the light
and its effects on the colors and also he preferred to paint in indoor places. Edgar Degas was
different form another impressionist painters, his style reflected his respect to his old masters. Also,
he preferred to paint in outdoors places. Moreover, Degas's art style depended on the depiction of
the art movement especially in his dancers drawings. Also, he used oil paintings and pastels in his
drawings.
(4). Examples of famous artworks for Claude Monet and Edgar

Comparing Cassatt And Degas
Despite Oliveira's decision to depict the two as lovers, Cassatt and Degas gradually built a strong
relationship, around their similarities in art, that stayed only as friends throughout their lifetime.
Oliveira composes an imaginary, sensual scene between the two artists, "Edgar lifted her hand from
his cheek and kissed her palm. He peeled back the lace at her sleeve and kissed the inside of her
wrist. His lips traveled up her sleeve to her elbow." Additionally, in Oliveira's novel, Cassatt admits
to a fictional Morisot Berthe, "I can't help that I love him." Not only does Oliveria show Cassatt as a
lover, but as being unable to control her love. Historical accounts never attest to Degas and Cassatt
being romantic; there is no written evidence ... Show more content on Helpwriting.net ...
In Oliveira's fictional account, Cassatt is writing to her family about Degas and describes him as a
colleague and a brilliant man. However, in her head she realizes she should not write her true
feelings of, "He is someone I suddenly need. I cannot live without him." There is no historical
primary evidence of Cassatt ever saying something about needing to have Degas in her life. In fact it
is quite the contrary, Havemeyer once asked Cassatt how she could live with Degas after hearing
about his cruelty towards other artists. Cassatt responded by exclaiming, "I am independent! I can
live alone and I love to work." Mary Cassatt was a strong–willed woman who did not depend on
Degas being in her life as Oliveira chose to depict. Furthermore, in reality, it was Degas who was
dependent on Cassatt. After Cassatt told Havemeyer that she was independent, she continued to
elaborate by stating, "Sometimes it made him[Degas] furious that he could not find a chink in my
armor, and there would be months when we just could not see each other, and then something I
painted would bring us together again and he would go to Durand–Ruel's and say something nice
about me, or come to see me himself." Cassatt's cool tone shows that it was in fact Degas who
worked to maintain a connection between them. As Cassatt said, Degas did insist on seeing her upon
viewing her work. There is historical evidence that when Degas saw Cassatt's painting Boy Before a
Mirror, he exclaimed, "Where is she? I must see her at once. It is the greatest painting of the
century." Degas was adamant on congratulating Cassatt on the brilliance of her individual work and
seeing her again. The situation was not Cassatt pining for Degas's approval, as Oliveira would
portray the situation. In reality, it was Degas who was more dependent upon

Edgar Degas Blue Dancers Analysis
Edgar Degas and the Ballet Dancers Although Edgar Degas preferred to describe his work as
realism rather than impressionism, he was among the most famous impressionist of the late 1800's.
Degas' body of work protrayed many aspects of Paris life such as café scenes, horse races and
operas. Some of his most notalbe portrayals was that of ballet dancers. Through his many portraits
of ballet dancers Degas was able to convey one the most important attributes of a ballerina, the
ballerina ligne. "Dancer Posing for a Photographer" and "Blue Dancers" are just two of the many
portraits Degas created of ballet dancers. Both portraits are fine examples of Degas' ability to render
the beautiful line a ballet dancer's body creates, the ballerina ligne. This line can be seen in both
portraits starting at the neck, moving through the shoulders and arms, and ... Show more content on
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The ballerinas in each portrait can be seen in traditional ballet garb known as the tutu. They have
also been portrayed with the traditional ballet hairstyle, the ballerina bun. Another comparison
between the two works of art is the rendering of the ballerina's faces in profile. This rendering
contributes to the depiction of the the ballerina ligne as well. "Dancer Posing for a Photographer"
was created with oil on canvas while "Blue Dancers" was created with the use of pastels on paper. A
single ballerina with a background of Parisian buildings can been seen in "Dancer Posing for a
Photographer". In contrast, "Blue Dancers" portrays serveral ballerinas and the background is
abstract. The facial features in "Dancer Posing for a Photographer" are more realistic and defined
through the portrayal of eyeshadow, lipstick and blush. In "Blue Dancers", the facial features for
three of the ballerinas are more abstract while the fourth ballerina's face can not been

An Analysis Of Edgar Degas ' Four Dancers
Edgar Degas' Four Dancers (1899) on a canvas, National Gallery of Art, Washington, D.C. The
composition accentuates the shapes and arms of the dancers with bold dark lines in dramatic lighting
on the dancers through green and orange tones. The reflection of color on the dancers' backs is
juxtaposed with that of the set design's painted background. Notably, the dancer nearest to the front
of the painting makes a "trapezoid" shape with her lifted arms. The two dancers next to her are
perfecting other versions of the same angle of the arms. Oddly, each dancer is drawn in an almost
perfectly symmetrical manner as if they are permutation of the same person. They all appear to be of
the same size as well. The dancer behind them has an extended arm, which helps to frame the other
dancers by creating a rectangular frame, encasing the dancers in the painting and bringing together
all the elements of the painting as a whole. A puzzling aspect of the work is the repetitive nature of
the three ballet dancers in the foreground; their standing side by side in a line underscores their
similarity of pose and gesture. What are the consequences of the defining and prevalent differences
created for each dancer? To answer this question, it will be important to consider the appearance of
each dancer and each action, especially the meaning of their ballet performance. This analysis is
important to consider because Degas' painting is an important work for classical impressionism and
it can help

Similarities Between Napoleon The III And Mary Cassat
In Paris, during the mid 1870's the Café Concerts faded away and emerged into Napoleon the III's
grand vision: theatres. The theatre was called the Opera. The Opera was a glorious space meant for
the middle and upper class people, including the visiting royalty. The opera was an elegant cultural
phenomenon for these people; it was a place for them to put their class on display, to socialize, and
to provide evidence of their status in their society.1 Some impressionists loved these venues, and
dedicated their talents to depict it, while frequenting the opera2. "Among the impressionists it was
Degas, Renoir, and Cassatt who pictured spectators in the polite world of the enclosed theater."3
Aside from the impressionists, another frequenter of ... Show more content on Helpwriting.net ...
Cassatt shows us an independent woman, dressed respectably in black during the daytime. This
woman is self–assured and enjoying her time watching others, while Degas work places us as a male
observer eyeing the star ballerina. We are doing so while his possible wife is right in front of him, in
a close and intimate proximity. Cassatt's work is dark, and simplistic in terms of colour, while Degas
is bright and vibrant. Cassatt's work shows a woman holding a fan, but not using it and instead using
her binoculars, while in Degas work the woman is using her fan and not her opera glasses. Degas
work gives a sense of movement, and Cassatt's does not. Overall we can clearly see a difference
between these two works. Edgar Degas is painting with a male gaze, showing women as objects and
not people. "Degas' images of 'real' women, whose bodies conformed to no ideal standard of
feminine beauty, but which were nevertheless not without sensual appeal, were images that proved
distasteful and even frightening to many critics and observers of the period, some of whom, like
Fevre, assumes automatically that a nude woman who was not a goddess must be a prostitute."18
Degas is objectifying and belittling women while Mary Cassatt is clearly trying to assert women's
independence and to bring light to the problem of feminism. This is why Mary Cassatt will always
be an important artist and part of the nineteenth century

Impressionist Art : Vincent Van Gogh And Edgar Degas
Impressionism
This paper will discuss two iconic impressionist artist, Vincent Van Gogh and Edgar Degas. I will
give details on these two artist lives, and see how they use impressionism to make their beautiful
paintings like, Vincent Van Gogh's "The Starry Night" and Edgar Degas' "Dancers in Blue". I will
explain how Lucy Lipids 3–pronged analysis can apply to both of these paintings, and how a few of
the Gestalt Principles can be seen in these painting. Impressionism is a late French 19th century art
movement, which was all about the impression of art. The point was to emphasize the artist's
perception of the subject matter as much as the subject itself. More like if you had only just caught a
glimpse of it, but could still recognize the subject. It incorporated new scientific research into the
physics of color to achieve a more exact representation of color and tone. Someone using this style
would apply paint in small touches of pure color rather than in broader strokes. Detail wasn't
something to worry about with this style it even lead to another style of art called pointillism. They
were paintings with small dots, which gave them a greater sense of vibrancy when seen from a
distance. This would cause a shimmering effect. Vincent Van Gogh was born March 30, 1853 in
Zundert, Netherlands, and shot himself on July 27, 1890 and died from the wound on July 30, 1890
at the age of 37 in Auvers–sur–Oise, France. He was the son of a pastor (Theodorus van Gogh) and
always

Edgar Degas And Western Realism In Hokusai's Impressionism
Edgar Degas appears to have never accommodated himself to the name of "impressionist," wanting
to call himself a "realist," "independent," or "free." Like the impressionists, he looked to catch
transient minutes in the stream of present day life, yet he demonstrated little enthusiasm for painting
plein air scenes, favoring scenes in theaters and bistros lit up by fake light, which he used to
illuminate the forms of his figures, complying to his training. Degas's choice of subject matter
mirrors his modern cutting–edge approach. He best–liked scenes of ballet dancers. His concentration
to ballet dancers increased strongly in the late 1800s, and eventually he composed nearly 2,000
works on the area. They address the way the human body moves, investigating the physicality and
train of the ballet dancers using distorted stances and abrupt vantage points. Without the Japanese
printmaker Hokusai, Impressionism may never have happened. He is a father figure of Western
Modernism. In Japan, Hokusai was viewed as crude, underneath the thought of the magnificent
literati. In the West, his outline of space with color and line, as opposed to by means of one–point
perspective, would have a revolutionary effect. Most artist were influenced by his landscapes but
Degas, he was influenced by Hokusai's rendering of human forms. You can truly see how he was
influence by Hokusai in his bathers artwork. Degas was uncommonly interested in women's private,
rather than public, appearances. Degas'

Essay on Edgar Degas and his influence on the art of Mary...
Mary Stevenson Cassatt's Miss Mary Ellison (1880) and Edgar–Hilaire–Germain Degas's
Mademoiselle Malo (1877) are two paintings that, when compared and contrasted, shows numbers
of influences that Degas had on Mary Cassatt's art. Both of these paintings are portraits done in tbe
standard ¾ point of view. Even at a mere glance, it is easy to see the striking similarities between the
two portraits. It is not too farfetched to assume that Degas had a lot of influence on Mary Cassatt's
work because it is known that he was one of her biggest inspirations (Wallis, 14). Furthermore, even
within the Impressionist group the bond that Degas and Cassatt shared was an important one to her,
since she looked up to him as a model artist (Englemann, 80). ... Show more content on
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At around 1877 She was invited to s stop submitting her artwork to the salon and instead join and
submit with the independents/impressionist's group by Edgar Degas (Mathews, 35). She was also
the only American female artist to exhibit with the Impressionists. Edgar Degas was a Parisian
painter; much like Cassatt, his father was also a wealthy banker (Wallis, 18). He was born in 1832
(Spate, 6) His father, the banker, was also an avid art collector; this helped stimulate the Degas's
interest in art at an early age (Wallis, 19) Like Cassatt, his family was from the higher middle class,
and as such he was raised to be a cultivated, cultured, Parisian social elite (Spate, 6). However,
unlike Cassatt, Degas did not originally study art; he studied law. In 1853 he received his
baccalaureate and according to his father's wishes studied law (Wallis, 18). Eventually his father
agreed to let Degas study art and so he did. Before joining up with the Impressionist, Degas mostly
vested his time into classically themed paintings and portraiture (Wallis, 20). Eventually, he was one
of the first to exhibit with the impressionists (he participated in the first impressionist exhibition in
1874). Eventually, he participated in the first impressionist exhibition in 1874 along the sides of
Renoir, Monet, Morisot, Pissarro, Cézanne, and Sisley (Spate, 13). The two paintings Miss Mary
Ellison and Mademoiselle Malo were chosen based on

The Dance Lesson By Edgar Degas
The subject of The Dance Lesson by Edgar Degas appears to be ballerinas or dancers standing
around waiting or getting prepared, such as stretching and tying bows, for their dance class or lesson
to start. The dancers are all sitting, standing down, and stretching instead of dancing, so it seems
they are waiting for their instructor to start the dance class. This painting seems to have taken place
in a ballerina or dance studio. It appears to be a wide room with wooden floors to dance on and in
the background it appears to be a mirror with a pole attached, like you would see in a regular dance
studio.
Edgar used the difference in lights and darks to show depth in the painting and show importance.
The dancer sitting in the front appears to be

Mary Cassatt: Images Of The Relationship Between Mother...
Born in May 22, 1844 – June 14, 1929, Mary Cassatt was an American painter and printmaker she
lived much of her adult life in France where she befriended Edgar Degas. Mary would paint images
of the relationships between mother and their children. Cassatt was born in Allegheny City,
Pennsylvania, which is a part of Pittsburgh. Her father Robert Simpson Castt (later Cassatt) was a
successful stockbroker and her mother Katherine Kelso Johnston, came from a banking family. The
name Cassatt came from the cousin of the artists Robert Henri. Mary was one of seven children, two
of them died in infancy. Her family moved eastward, first to Lancaster then to Pennsylvania, and
then to philadelphia area where she began schooling at age six. She lived in ... Show more content
on Helpwriting.net ...
She would mothers and their children sit down in a chair and paint them caring, washing, and even
feeding the children. That was how she was able to capture the true love of the relationships of
mothers and their children. In one of her paintings Mary had painted a picture of two woman and a
child in a little row boat called FEEDING THE DUCKS. She also painted a version of her mother
reading a newspaper called LE FIGARO. When her father died she was so sad and depressed that
she tore up one of the paintings of her father that she painted when she was little, when her father
was still young. When she finally started to accept her father's death she began to show her work in
New York galleries, where she long time best friend Edgar Degas bought many of her paintings to
always keep her in his memory, because he knew that this would be the last time that he would be
able see her, and her art work. The 1890s was her most creative time because she saw her world in a
whole new light and wanted to capture it in her new paintings. She still didn't move away for the
mother and child love that she always drew, now the paintings were more vibrant with color and had
more light and dark form the light of the sun. She would sit her models in "just" the right place to
where she could get the most light and "just" the right amount of shadows. And that is report on the
French– American artist and printmaker MARY

Dancers in the Green Room
I went to the Detroit Institute of Arts on Sunday, November 15, 2009. I had previously been to the
DIA several times before to spend my leisure time glancing at the artwork there. I would meander
down the hallways and corridors, almost as if I were window shopping. I would briskly walk past
the exhibits that were dull and uninteresting to me such as the Early American and African American
galleries. I momentarily pause in the Medieval section to admire the shiny amour and intricate
designs on the swords. For this assignment, I told my self this time was going to be different. This
time I would see more that just paintings and sculptures. I would look for form and technique. I
would try to see the mood that the art was conveying. ... Show more content on Helpwriting.net ...
Over the course of his career, he painted hundred of ballerinas. He claimed that the pub–lic
demanded it (Oxford Art Online). The ballerinas of Degas' time were very much iconic. Before
people had televi–sion, they would go to the theater to see ballet performances. Ballerinas had the
power to convey feelings and emotion through the are of dance. It was a very much revered pro–
fession. It is no wonder that Degas painted such a scene, for it was pop culture for his time. He did
step out of the Impressionist box for the time. Most of his colleagues were painting landscapes and
outdoor scenery, but Degas dared to be different and paint an in–side scene. I am very grateful to
have studied his work. My opinion of Impressionist paintings has changed. I now see the fuzzy
artworks as a story that has to come into focus by your mind. I can see the soft lines Degas used to
create the graceful poses of the ballerinas. I can feel what he was feeling, to be a mere observer in
their very busy, serious prep time. I do get a very calming feeling overall from painting. I hope that
it will still be there when I

Edgar Degas Research Paper
Edgar Degas was largely associated with the Impressionism art movement during the late 19th
century. Even though Degas himself would probably never call himself an Impressionistic painter,
"he was one of the group's founders, an organizer of its exhibitions, and one of its most important
core members" (Schenkel). The Impressionism movement had its origins from earlier movements of
naturalism and plein–air, or painting in open air, methods. Impressionism also drew from the
woodblock prints in Japonism. Impressionism at its core was about capturing fleeting moments in
time and focusing on realistic depictions of light. Edgar Degas's contribution to the movement came
in the form of paintings and sculptures. It is interesting to note that even though he is considered one
of the founders of the art movement, he often considered himself separate from his contemporaries.
His own works reflect that as he often painted indoors rather than the characteristic plein–air
methods of other artists within the movement. His most famous subjects were his paintings
depicting ballet set largely indoors with artificial light. So while these characteristics would be
considered contradictory to Impressionism, it was Degas focus capturing fleeting ... Show more
content on Helpwriting.net ...
The way that Degas has arranged the painting, we can see into not only the stage but further back
into the backstage. While the dancer is tightly and vividly realized in the painting, we can see
glimpses of the backstage, but nothing concrete. We see figures and legs in the shadows behind the
curtain but nothing entirely clear. Again, Degas captures a fleeting moment, emphasizing a motion
of the dancer while everything else is fuzzy to the viewer. Degas puts the viewer into an elevated
seat of the theater and allowing the viewer to have a glimpse of a moment in the show. The focus is
on L'Etoile, or the

Edgar Degas
In examining the work of the impressionist artist Edgar Degas, though he himself preferred to be
considered a realist, the very mention of his name conjures images of ballerinas. From the most
famous statue of Little Dancer Fourteen Years Old who stands prominently defined in our mind's
eyes or the swirling masses of color and form that showed visions of Parisian Operas in the 1800s
like that seen in the painting Dancers in the Wings, Degas' work is indelibly linked to the world of
these petite dancers. On the surface it appears a brief glimpse into their lives, but the work of Degas,
much like himself is shrouded in heavy layers of enigma and meaning. Why did he focus so highly
on the youth of the Parisian ballets, and in what ways does this convey and reveal the attitude of
Degas towards his subjects but also his approaches to art? By examining the world of these
ballerinas, we can dissect the juxtaposing values of pain and beauty found in their lives, as well as
the underlying voyeuristic and sexually charged undertones of Degas' own perspective. First, we
must revisit the reality of the youth pictured throughout much of Degas' work. His initial sketches of
this subject begin as early as 1860 in which "the Opera was an immense pleasure palace, a symbol
of French historical pride and preeminence, and a nostalgic repository of the ... Show more content
on Helpwriting.net ...
Degas's pictures of ballerinas performing onstage convey exquisitely what makes ballet ballet––all
that balance, grace and radiance [...] by stripping away the poetry and illusion to show the hard
work, the boredom, the more common beauty behind the

Qualities of a "Fine" Play
Ryan Dickinson February 11, 2013 Dr. Zielinski Introduction to Theatre Ed and Edgar Dodging
traffic, picking up the dry cleaning, and applying for jobs are the hallmarks of a monotonously
scheduled life. Daydreaming provides an appropriate escape for the dullness of routines. In David
Ives' play "Degas, C'est Moi" found in his Carpe Diem themed collection of one–act plays Time
Flies the protagonist Ed daydreams out loud by pretending to be Edgar Degas for a full day. From
his spur of the moment decision in the morning to his epiphany at night Ed epitomizes the desires of
the human spirit – including humanity's desire for immortality and greatness. Due to the play's
universal themes this one–act can be characterized as a 'fine' play. ... Show more content on
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By leaving a few minor loose ends Ives lets readers construct their own back–story for the
characters. This uncertainty heightens the play's richness because it makes the play unique and
individualized to each different reader and audience member. Ed's motivations relate to both the
richness of the play and the play's gravity and pertinence. The gravity of the play refers to the
importance of a play's theme, while a play's pertinence refers to the story's concern with the human
predicament. One of the reasons Ed morphs into Degas is to combat his own feelings of anonymity
and his lack of purpose. Being someone great, being someone 'immortal' brings a sense of freshness
to his entire life. When he wakes up in the morning he is mesmerized by his surroundings. "This is
wonderful! In the bathroom, everything seems transformed yet nothing has changed" he observantly
remarks (pg 22). To him, even the "very porcelain pullulates with possibilities" (pg 22). Yet as the
day comes to end his Degas persona slips away from him. Ed laments that though he always has a
voice in his head "now, tonight, no one is listening" (pg 31). He notes: "That presence that always
listened in at the back of my mind is no longer there. Nor is there a presence behind there listening
in. Nor a presence behind that, nor behind that,

Japanese Romanticism Essay
Nations certainly exchange cultural, technological, and artistic inspiration, but the west was
especially interested in the foreignness of the Asian world during the nineteenth century. Japan
opened international trade in 1858 after a period of isolation, introducing their woodblock prints to
European peoples. Europe, influenced by Romanticism, was fascinated with "the exotic" and
quickly began incorporating Japanese techniques into their artwork, as I will describe in detail using
the work of Edgar Degas (Lambourne 7). Europe had a curiosity for the Japanese way of life and
aesthetics; moreover, Japan simultaneously began a rapid period of modernization based on the
western model and reflected European principles in their art. I observed this transition in Japanese
artwork, both through my readings and on the trip to the Dallas Museum of Art. Not only did
Japanese culture influence the western artistic world in the late nineteenth century, including the
work of Degas and other impressionistic painters, but the European style began to inspire many
Japanese works. This two–sided artistic influence demonstrates the exchange of western and eastern
culture during the modernization of Japan and explains the roots of the Japonisme and Yōga periods
in Europe and Japan, respectively. Before Japan opened its borders to western trade and cultural
exchange, Europe pondered the unfamiliar Asian lifestyle. The Romantic movement in Europe
provides context for this exoticism, or

Edgar Degas And Da Vinci Compare And Contrast
Edgar Degas and Leonardo Da Vinci were the two prominent artisans in the history of art. During
these eras, Degas and Da Vinci gained enormous fame as a result of masterpiece they produced. This
essay compares and contrasts these two eminent artists. There are several differences between Edgar
Degas's paintings and Leonardo Da Vinci's paintings, which include the background, style, emotions
and personalities.
The first difference between Edgar Degas's paintings and Leonardo Da Vinci's paintings is
background. Background means giving the painter's biography and their famous works. Degas was
born on July 19, 1834 in Paris, France. He displayed exceptional skills for drawing and painting as a
child, a talent inspired by his father(Edgar Degas, ... Show more content on Helpwriting.net ...
Personality means the combination of characteristics that form an individual's distinctive
character.Degas was a private and systematic unmarried man. He dedicated his life in art and
preferred a solitary life and work alone in his studio. He was always shy and was known to be a
difficult person in friendships. Degas was a bad tempered person to his friends. But to his nieces,
nephews and some close friends he was friendly and charming ("Edgar", 2013). He may be
considered a racist as he was reluctant to draw the black community when he travelled to the United
States (Kay, 2012). Leonardo da Vinci was a man of strict moral character with respect to the divine
nature of humans and animals, a vegetarian and a lover of nature (Leonardo Da Vinci, n.d.). He was
strong and handsome;According to Vasari his personal beauty cannot be amplified, his every
movement was a grace itself. (as cited by Keele, 1985).His delightful conversation won all hearts
even though he worked little he kept servants and horses of which he was fond of and trained them
with much kindness and patience (Keele, 1985).The personalities of the two artist are completely
different and can be seen as opposite of each other. Leonardo was a kind person yet wasn't an
arrogant considering his possession of vast knowledge. Degas was self–centered, angry and was a
difficult person to be

Degas Bathers (1895-1900)
Degas' Bathers (1895–1900) An innocent scene is depicted in Degas' Bathers (1895–1900), three
women lounging and relaxing in a patch of grass. They are presumably near a body of water and
have just bathed or are about to, due to their nudity and the work's title. Although Degas is known
mainly for his depictions of dancers, for a brief period beginning around 1885 he primarily focused
on the female nude. Despite the change in atmosphere, Degas focus on the female body did not
sway. Not only does the lack of individuality stand out in the women in Bathers (1895–1900), but in
many of Degas' paintings the women are unidentifiable from each other. The intimate scene Degas
depicts makes the viewer an outsider intruding upon a private moment among the ... Show more
content on Helpwriting.net ...
Degas' Bathers (1895–1900) shows three figures, in various positions, two of whom are portrayed as
female. The figure in the background is somewhat blocked by the figure in the middleground, she is
facing downward, but her shoulders are lifted and her upper body is angled toward the viewer. Her
head is downcast and she seems to be staring at the ground in front of her. Her legs are bent and
pressed together, also blocked by the figure in the middleground. The figure in the middle ground is
laying on her back with her legs bent and crossed. Her face is blocked the figure in the foreground.
One of her arms is draped across her stomach and the other is outstretched and grabbing her ankle.
The figure in the foreground only appears as a pair of legs. The off–kilter proportions of all three of
the women's bodies paired with the fragmentation of their bodies makes the image surreal and hard
to put meaning behind. The back figures legs trail off into nothing, while her face is blurred

The Art Gallery : Six Friends At Dieppe
In the Impressionist gallery in RISD museum, a biggest piece of work attracts people's eyes. Six
Friends at Dieppe, a drawing made by Edgar Degas in 1885, depicts a moment of six people on
vacation on France's Northern Coast. Degas used pastel on rough paper to created this portrait from
a vertical view. Six men emerge from an orange background and five of them assemble on the right
side. These people dressing in the suits typically in 1880s come from different ages. Apart from four
middle–aged men, three on the right and one on the left, there is a boy hiding between the two at the
back of the right and a old man sitting at the right bottom. By applying unique composition,
distinctive strokes and subjective colors, Degas perfectly illustrated the modern world from the
dynamic figures. The characteristics of the figures also demonstrate the modernity of the work.
Instead of occupying the center, all the people are separated to two sides of the paper. Unlike most
of the traditional works, Six Friend at Dieppe doesn't have a main figure to dominant the image.
There are two figures that could potentially lead the view. The crowd of people on the right reveal
the emptiness on the left, emphasizing the man on the left. Because he is facing the opposite
direction to the others, the contrast reinforces the importance of him. However, two men at the right
bottom show the dominance too. Degas drew the most details on these two figures. The man in
brown gains the most light and

Monet Vs. Degas: Impressionist Aesthetics Essay
Although from the same artist group, these Impressionists originated from backgrounds that seemed
worlds apart. Claude Monet, known as the "Master Impressionist" varied the themes in his artwork
more than any other artist did. Monet's work "Impression Sunrise", of which the term
"Impressionist" originates also gives rise to the title "Master Impressionist". Edgar Degas started his
career as an artist with nothing in common with Monet but the era in which they lived. From themes
to brushstrokes and choices of colours, Monet and Degas started their relationship as Impressionist
artists on opposite ends of the earth. However, towards the climax of their lives as artists, Monet
aided Degas in adopting Impressionist Aesthetic qualities. ... Show more content on Helpwriting.net
...
Born in 1840, Claude Monet began to show promise in the arts as a young boy. Although
discouraged by his father, Monet made enough money to support himself through art school by
selling caricatures. At the age of 15, Monet's name, amongst the people, became well known for his
talent. Although he never finished school, he established himself and initially chose to concentrate
his paintings on still life. His first large work, "Dejeuner sur l'herbe", however, would not depict the
scenes for which he would later be known; for example, his landscapes and sights from his garden at
Givenchy. He started painting scenery as a result of the influence of a co–worker named Boudin.
While at Givenchy, Monet is captivated by his garden. He spends the remainder of his life there and
paints his Japanese footbridge a great many number of times.
Degas, however, born in 1834 to an upper class family of Franco–Italian background was always
encouraged to develop his talent. He tended to lean towards painting familiar gatherings in his shy
and insecure "keyhole" manner; used mainly when painting people in action, for example, "The
Tub" or "The Bath". For both these works, Degas can be noted for saying, "I want to look through
the keyhole." Degas did not paint as an insider, but as an outsider peering in. The majority of the
poses he chooses for his the models in his

Edgar Degas Research Paper
"Art is not what you see, but what you make others see." (good reads) This is a famous quote by the
great painter Edgar Degas. Edgar degas was born in July 19, 1834 in Paris to upper middle class
family. Regardless of his father's desire for him to go to law school, Degas wanted to focus on
painting. In 1855 Edgar Degas got admission in the Ecole des Beaux – Arts, and studied drawing
there (Edgar Degas biography). In the later 1860s he was allowed to exhibit his painting in the
institution of salon In in Paris, but he was not selling his arts. In the beginning of his career degas
was not depended on the sales of his work because of his family wealth. In 1874 his father passes
away and his brother René went bankrupt as well, so he was ... Show more content on
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The exhibitions created the impressionist movement and were really successful and challenged and
affected the academy badly. Even though in the universal exhibition of 1889 the academy sold most
of the art, in the game it was complete opposite. The game did not reflect historical reality at all. The
impressionist painters sold most of the arts compared to the academy. I sold eight of my paintings
and got 3 critic tickets. One from Michel and two from buyers in from the universal exhibition.
Even though degas was among the impressionist group and even though the impressionist painters
were to support each other, in the game it was all about themselves and completion. Every one
struggling to get dealers and critics attention and was trying hard to sell their own art. The game
made all the students research about their own characters and their friends. It helped everyone if us
to learn a lot about the history of art, and how art progressed from the neoclassicism to today's
modern art. The also helped to improve students' understanding about historical time period and
about the rise and fall of academy as well. It helped us learn about

Edgar Degas helped to found and develop the Impressionist...
Edgar Degas helped to found and develop the Impressionist group of artist and their exhibitions.
Though he helped to develop the group of Impressionist, he did not consider himself one; he
referred to himself as a Realist or an independent artist. Degas preferred to paint scenes that were
indoors and lit by artificial light rather than outdoor naturally light scenes. He used many different
medium when making his art such as oil paints, bronze sculptures, engravings, photos, and sketches
with pencil and pastels. Degas began his study of art by copying Italian Renaissance paintings that
he saw in the Louvre. In 1850s, a tip that he took to Italy influenced him where he was many
paintings and frescos that he did many sketches of. Degas ... Show more content on Helpwriting.net
...
They were both influenced by the world that was around them; they often used theatrical dancers
and prostitutes for inspiration and subjects. Like Degas, Toulouse–Lautrec was also strongly
influenced by Japanese prints; he used the layout and formatting of the ukiyo–e prints in his own
prints. Toulouse–Lautrec mimicked many of the lines and areas of flat color of ukiyo–e prints in his
prints (3). Degas did not focus on having solid lines; he would use many shorter lines to created
contours that have more depth to them rather than continual flowing lines. His lines alone are not
important, what is important is the shading that adds the dimension and tonal value to a piece. He is
less interested in the contours and more interested in the way that the shadows create a more three
dimensional space. His interest in shadows is seen in his use of pastels where the contours become
the colored shading. When creating a composition Degas does not use classical centralized
contained compositions, he often has partial figures that are cut off by the edge of the canvas and the
center of the composition often contains unimportant information such as a doorframe or the edge of
a table (4 absinth drinker). Many of the compositions that he creates are a study of movement;
Degas is less interested in creating a story. Toulouse–Lautrec is most well known for many of his
lithographs; in these lithographs, he uses specific lines to create simple suggestions of figures and

Degas Vs Mary Cassatti

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Degas Vs Mary Cassatti