Dancers Practicing at the Barre | Edgar Degas | 29.100.34 | Work of Art | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Dancers Practicing at the Barre Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1877 Medium: Mixed media on canvas Dimensions: 29 3/4 x 32 in. (75.6 x 81.3 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.34 Description The watering can, visible at left, was a standard fixture in ballet rehearsal rooms; water was sprinkled on the floor to keep dust from rising when ballerinas danced. Degas also used the watering can as a visual pun: its shape is mimicked by that of the dancer at right.

Shown at the 1877 Impressionist exhibition, the painting was given by Degas to the collector Henri Rouart as a replacement for an earlier work (now lost), which the artist altered and accidentally destroyed. Louisine Havemeyer purchased it from Rouart's estate sale in 1912, for $95,700, a record price for a work by a living artist. Dancers at the barre - Edgar Degas - oil painting reproduction Dancers at the barre Degas, Edgar (French 1834-1917) Realist/Impressionist Painter and Sculptor, Also known as: Hilaire-Germain-Edgar Degas. Title: 100% Handmade Oil Painting on Canvas. Shipping: Finish and send in 2 to 3 weeks 100% Hand Painted Fine Oil Painting Reproduction No printing or digital imaging techniques are used. " Edgar Degas's Dancers at the barre " will be hand painted by our professional and experienced artist on real artist's canvas in the traditional way the real artist would paint. Testimonials My paintigs is framed on the wall. I like very much.

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Any Size is possible: custom size or original size or aspect ratio size all are conceivable. Any Photo is welcome: If you have another image of this painting that you would like our artist to work from, please send it to us. Changement is no problem: Sometimes, customers want to make a small adjustment on masterpiece to creat a new painting by using their own idea. It is also OK with us, just email us with your design, we can transfer it on canvas. Please let's know - Email . Degas's Dancer's at the Barre Degas's Dancer's at the Barre Point and Counterpoint October 1, 2011 - January 8, 2012 Exhibition Images Dancers at the Barre (early 1880s–c. 1900) Enlarge Dancers at the Barre (c. 1900) Enlarge Study of Nude Dancer at the Barre (1895–98) Enlarge Ballet Rehearsal (c. 1885–91) Enlarge Dancer Adjusting Her Shoe (1885) Enlarge The Dance Class (c.

1873) Enlarge Two Dancers Resting (c. 1890–95) Enlarge Dancer Moving Forward, Arms Raised (c. 1882–98) Enlarge Dancers in Rose (c. 1900) Enlarge Nude Study for Little Dancer of Fourteen Years, XIX (1879–80) Enlarge Choreographer's Notes Hilaire-Germain-Edgar Degas (1834–1917) was a passionate devotee of ballet—he knew the dancers, the music, the choreography. He also knew the work involved in the life of the dancer, the endless repetition of steps to achieve grace, agility, and expression. He pursued the subject for over 40 years through oils, pastels, drawings, prints, and sculpture, creating over 1,500 works devoted to the anatomy, posture, and movement of dancers.Degas’s Dancers at the Barre: Point and Counterpoint is the first exhibition of Degas’s dancers in Washington, D.C., in 25 years.

The impressionist master’s relentless experiments with movement and dance culminated in Dancers at the Barre (early 1880s–c. 1900), one of the greatest works in The Phillips Collection. The exhibition brings together about 30 related paintings, works on paper, and bronzes, created between 1870 and 1900, from some of the world’s greatest collections, including the NY Carlsberg Glyptotek, Copenhagen; Nasjonalgalleriet, Oslo; the British Museum, London; the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum, New York; the National Gallery of Canada, Ottawa; and the Corcoran Gallery of Art and Hirshhorn Museum and Sculpture Garden, D.C. The exhibition also features work by Degas in the Phillips’s permanent collection. Early in 2007, Head of Conservation Elizabeth Steele set out to rescue Dancers at the Barre. The painting’s aging varnish, flaking paint, and years of airborne grime endangered its structural stability and diminished its aesthetic appearance.

Steele restored a lustrous palette of bright blue, white, and black against a flaming orange background, and located an inscription on the canvas indicating it was begun around 1884. She also uncovered evidence that Degas cut the canvas down after the painting was underway, repositioned the dancers’ arms and legs at several times, and daubed paint on a dancer’s neck with his thumb. These discoveries indicate that he began the painting before 1884 but returned to it several times over the next two decades, intensifying its color palette and repositioning and blurring the contours of the figures. Degas’s process mirrored the rote and repetition, point and counterpoint of ballet—he repeated himself obsessively, tracing and refining compositions over decades, and reproducing the same subjects from multiple perspectives in a range of media. He often produced studies for individual dancers or small groups then combined their figures in new compositions. Occasionally, he stripped away costume to deepen his understanding of anatomy and posture. Dancers at the Barre is reunited with full-scale pastel and charcoal sketches of its dancers shown individually and together, nude and clothed, for the first time since they were in the artist’s possession.

For museum founder Duncan Phillips, Dancers at the Barre was “a masterpiece . . . in its daring record of instantaneous change at a split second of observation,” in which Degas “miraculously transformed the incident of swiftly seen shapes in time into a thrilling vision of dynamic forms in space.” The exhibition is organized by The Phillips Collection. Hilaire-Germain-Edgar Degas was a prolific, influential French impressionist who brought together the academic tradition of draftsmanship with close observation of modern life in Paris, the city in which he lived his entire life. His many subjects included the offstage world of the ballet, a subject to which he returned in more than 1500 works over four decades. The son of a banker, Degas was born in Paris on July 19, 1834, and, as a young man, briefly studied law. In 1855, he entered the Academie des Beaux-Arts, where he studied under Louis Lamothe, a student of Jean-Auguste-Dominique Ingres, and became accomplished in drawing.

Between 1856 and 1860, Degas visited Naples, Rome, and Florence to view and copy the works of the Italian Old Masters. On a trip to Rome in 1858, he became friends with French painter Gustave Moreau. During the early 1860s, Degas painted large compositions and portraits. He began showing his work at the Salon in 1865. Degas was active in organizing the first impressionist exhibition in Paris in 1874 and participated in most of the subsequent impressionist shows. In about 1892, in his late 50s, Degas started working mainly in pastels. At this time he started to experience problems with his eyesight and began working with low light levels in his studio. Later in life, he concentrated on collecting paintings, favoring the works of Ingres and Eugène Delacroix. Edgar Degas died at age 83 in Paris on September 27, 1917.

To place its title painting in context, says Phillips Chief Curator Eliza Rathbone, Degas's Dancers at the Barre: Point and Counterpoint brings together approximately 30 stunning works by Degas—including paintings, bronzes, drawings, and prints—from major collections around the world and the museum's permanent collection. "Dancers at the Barre is a great, late Degas masterpiece, so you need to understand Degas's whole evolution to see where it comes from," she says. "Certainly, you need to follow his interest in dance and ballet over a number of decades from the 1870s past the year 1900." One of the best known holdings at the Phillips, Dancers at the Barre is also a timely exhibition subject because of the discoveries that were made during its recent conservation, revealing how Degas repeatedly changed the dancers' positions and intensified the color palette. Technical images from this scientific study are included in the exhibition, shedding light on the artist's process of frequent revision—just as the other works in the exhibition show Degas revisiting the subject in different media.

The exhibition's subtitle, Point and Counterpoint, "evokes Degas's own repetitive work as he continually revisits, revises, and works through his visual ideas," says Rathbone. "The exhibition brings out the parallels between Degas's work and dance itself, both of which require incredible discipline and dedication—there's nothing halfway about either one. It has to be total love to achieve greatness." Above all, she says, "these are ravishingly beautiful works. I hope that the visitor is deeply moved, inspired, and engaged by the passion with which Degas pursued his work and the greatness of his achievement, and comes away marveling at his invention. It is really an extraordinary life, and even people who have spent their own lives studying Degas never stop making new discoveries; it is that rich." The following is excerpted from an exclusive interview by Wall Street Journal dance critic Robert Greskovic with internationally recognized choreographer Christopher Wheeldon from July 2011. The full interview appears in the Degas's Dancers at the Barre: Point and Counterpoint exhibition catalogue, available mid-November in the museum shop.

Excerpts from Swan Lake choreographed by Wheeldon for the Pennsylvania Ballet in 2004 are on view in the exhibition. RG: When you staged Swan Lake in 2004, you chose a Degas era. Can you tell us what interested you in Degas? CW: Two years previously to Swan Lake, I’d been to Degas and the Dance at the Philadelphia Museum of Art and had been intrigued by many of the backstage paintings and the perspective from the wings—looking through the dancers, watching dancers performing on stage, there are these black, tall, top-hatted figures. … I think what struck me most of all was how accurate all these paintings are in their depiction of the rehearsal process and how things haven’t really changed. The outfits have changed. … The way that the light comes in through the windows of the studio, that’s something that I felt was very accurate, how I feel when I’m in the room and how the light affects the way that I work, and also just the vividness of the colors in the paintings, the theatricality of them just pulled me in.

RG: While you were working in Philadelphia, did you find that the dancers, for whom you were making the ballet, had a familiarity [with Degas]? CW: Basically what I did was I took color Xeroxes of every Degas painting that I could find and pasted them up all over the studio, and I encouraged [my dancers] as much as possible to look at the way the dancers are posed, the very naturalistic way. They’re dancers, that’s what dancers do, you see them sitting around the room in the same poses that you see in these paintings. You put a ballerina today that’s wearing a dirty pink leotard in an old practice skirt to rehearse Giselle and she looks exactly like one of the figures in a Degas painting, so even that hasn’t changed that much. RG: What immediately strikes you about [the paintingDancers at the Barre]? CW: I think what’s interesting about this is the positioning of the dancers, the figure in the background, how overly forced her front leg is on the barre. It’s an unnatural amount of turnout that she has and that’s exactly what dancers do when they warm up, you know.

When dancers warm up, they go to the barre, and they force their bodies beyond the positions that they’re expected to be in as a dancer in order to push the muscles to a point where they get warm. Exhibition Sponsorship Degas' Dancers: Behind The Scenes, At The Barre : NPR The Dailiness Of Dance: Edgar Degas rarely depicted dancers performing — he opted to capture the everyday moments of the ballerinas, such as in his 1885-1891 work Ballet Rehearsal. Christopher Mir/Yale University Art Gallery hide caption toggle caption Christopher Mir/Yale University Art Gallery It's not often that an art show makes visitors stand up straighter. But Degas's Dancers at the Barre: Point and Counterpoint — an exhibition at the Phillips Collection in Washington, D.C. — has that effect. Ballet dancers in gauzy skirts stretch and bend and twist on oil and pastel canvases in the museum's galleries, which showcase more than 30 works by Edgar Degas.

toggle caption /Phillips Collection The focal point of the Phillips Collection's Degas exhibit is Dancers at the Barre -- a masterwork begun in the early 1880s and continuously revised by the artist for the next 20 years. /Phillips Collection The last gallery even includes two mirrors and a real ballet barre, mounted at hip height along one mirror. When a dancer from the Washington Ballet reached the end of the exhibit, she couldn't resist stretching one leg on the barre. "You can't just walk past it," says Morgann Rose, a principal dancer with the Washington Ballet. "I see a ballet barre, and I have to do something — [it's] kind of an addiction," she laughs. Rose recognizes herself in the painting that is the focus of the exhibition, Degas' Dancers at the Barre. "Every day begins at the barre — stretching, slowly moving your body, warming yourself up," she explains. These morning rituals are familiar to every dancer. Septime Webre, dancer, choreographer and artistic director of the Washington Ballet, describes the start of the day with veneration. "The studio is a temple," he says.

"In the morning, the sunlight is casting a shadow on the studio floor, and one walks up to the barre and just begins to test out the stretches," says Webre. Dancers need to stretch all their major muscles at the start of the day. "It's something someone does for themselves," he says, "to prepare." Article continues after sponsorship Ballet dancers learn these stretches as young children and repeat them hundreds of times each day, until their dancing days end at age 35 or 40. Eliza Rathbone, the curator of the exhibit, draws parallels between a dancer's repetitions and the works of Degas. Over his lifetime, Degas created 1,500 paintings, pastels and drawings of dancers — more than any other artist. Vibrant colors help highlight the depth of field in Degas' 1873 oil on canvas, The Dance Class. Corcoran Gallery of Art hide caption toggle caption Corcoran Gallery of Art Vibrant colors help highlight the depth of field in Degas' 1873 oil on canvas, The Dance Class.

Corcoran Gallery of Art "You have to draw and draw and draw — just like a dancer practices again, again and again the same steps, the same movements in order to achieve that beautiful grace and fluidity and mastery of their art," says Rathbone. Merce Cunningham, the avant-garde American dancer and choreographer, said "dancers shouldn't be dancers if they don't love the dailiness of it," adds Webre. "It's that dailiness that Degas captured, and it's the dailiness that's in the spirit of his return to those subjects." Degas drew the dancers in studios, in rehearsal halls, and backstage in dressing rooms. Scholars say he was a witty, brilliant conversationalist, though he never married and maintained a reclusive life. It might seem strange that a solitary bachelor was allowed insider access to the Paris Opera ballerinas, but it was a common privilege for subscribers in the 19th century. Degas — a charming but reclusive bachelor — spent hours observing the ballerinas behind the scenes, allowing him to sketch candid moments like his 1889 Three Dancers.

Museum of Fine Arts, Boston hide caption toggle caption Museum of Fine Arts, Boston Degas — a charming but reclusive bachelor — spent hours observing the ballerinas behind the scenes, allowing him to sketch candid moments like his 1889 Three Dancers. Museum of Fine Arts, Boston "A subscriber would have special access to seeing the dancers before or after the performance," says Rathbone. The dancers, who were lower- and middle-class women, welcomed such visitors to their behind-the-scenes life. Gentlemen of means might become patrons, or what they called "special friends." Degas' art emerged from these privileged, private moments. In fact, he rarely showed ballerinas in performance. Instead, they stretch at barres, pull up a stocking, or bend to adjust a satin toe shoe ribbon. In their pretty tutus and sashes, they are in the process of making art — that's the subject of Degas' obsession. "What we see [in performance] is such a small part of a dancer's whole life. [Degas] was interested in showing life — real life," says Rathbone. He loved those hard-working dancers.

He once said they had "sewn up his heart in a bag of pink satin ... a bit worn, like their dancing slippers." It was this love that drove Degas to compulsively perfect his works. Starting around 1884, Degas made continuous revisions of Dancers at the Barre — changing the position of an arm here, a leg or head there. Using an infrared camera, Elizabeth Steele, head of conservation at the Phillips Collection, discovered the artist had changed the positions of the dancers' legs eight times on the same canvas. In a charcoal and pastel version of Dancers at the Barre, Degas tries out a variation on the dancers' head and leg positions. National Gallery of Canada, Ottawa hide caption toggle caption National Gallery of Canada, Ottawa In a charcoal and pastel version of Dancers at the Barre, Degas tries out a variation on the dancers' head and leg positions. National Gallery of Canada, Ottawa "He kept fussing with it obsessively," Steele says. But after all those revisions and reworkings, his final choice of leg positions was an odd one: "No one could possibly stand like that," says Steele. "Even the leg is growing from the wrong part of her body.

It's total invention by the end; it has nothing to do with working from the model anymore. He's searching for the strong feeling of stretching, and this is how it comes out." Looking at the work as a dancer, not an art expert, Morgann Rose finds another awkward patch in the painting. "The foot on the left dancer looks like it's a little bit flexed, in my opinion. You want the beautiful line at the end of the foot to always curve in the direction of the pointed foot," says Rose. "Her foot is not quite as pointed as I would like," she critiques with a laugh. But Degas was creating art, not life. He was fascinated by the art of becoming beautiful, and the infinite vocabulary of motion that came with it. In his depictions of this process, Degas created an ethereal world of lovely illusions that all the hard work is designed to produce. Degas was a perfectionist — chronically dissatisfied, he worked on Dancers at the Barre on and off for 20 years. In fact, it was still in his studio when he died in 1917 at the age of 83.

Now it is at the Phillips Collection until early January, along with other images from this behind-the-scenes look at dance. Dancer at the Barre III by Edgar Degas | Oil Painting Reproduction by Edgar Degas France, 1834-1917 Dancer at the Barre III by Edgar Degas Dancer at the Barre III by Edgar Degas Dancer at the Barre III Artist: picture ID 33618-Dancer at the Barre.jpg Tags: Custom Oil Painting Reproduction From Us Medium: Handmade Oil Painting Reproduction on Canvas Delivery: Door to door by express Choose Standard Sizes inch cm * All the prices listed here are Top/Museum Quality in US Dollars. NOT stretched and NOT framed. * Hand-painted Edgar Degas Oil Painting Reproduction : Dancer at the Barre III 100% Money Back Guarantee If, in the unlikely event you were dissatisfied with the painting after reviewing it in person, it can be returned for a full refund for up to 7 days after delivery. When you receive the painting; you are free to return it for more revisions or else for a full refund minus our actual shipping cost -- which is.

Edgar Degas Dancers at The Barre painting - Dancers at The Barre print for sale We sell thousands of pieces of artwork each month - all with a 100% money-back guaranteed. If you want to purchase museum quality Dancers at The Barre at discount price, why not give us a try? You will save a lot more! Delivery If Edgar Degas Dancers at The Barre is printed by machine on textured canvas, it takes about 5 working days to your address; if you choose it as hand painted reproduction, it takes about 18 working days to your address. We ship all over the world. This Edgar Degas Dancers at The Barre is oil on canvas and waterproof. We can provide Dancers at The Barre giclee print, stretched canvas and large framed art, but do not offer poster. Edgar Degas | Dancers Practicing at the Barre | The Met Dancers Practicing at the Barre Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 29 3/4 x 32 in. (75.6 x 81.3 cm) Classification: H. O.

Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.34 On view at The Met Fifth Avenue in Gallery 815 The watering can, visible at left, was a standard fixture in ballet rehearsal rooms; water was sprinkled on the floor to keep dust from rising when ballerinas danced. Degas also used the watering can as a visual pun: its shape is mimicked by that of the dancer at right. Shown at the 1877 Impressionist exhibition, the painting was given by Degas to the collector Henri Rouart as a replacement for an earlier work (now lost), which the artist altered and accidentally destroyed. Louisine Havemeyer purchased it from Rouart's estate sale in 1912, for $95,700, a record price for a work by a living artist. Signatures, Inscriptions, and Markings Inscription: Signed (left center): Degas Provenance Henri Rouart, Paris (given to him by the artist; until d.

1912; his estate sale, Galerie Manzi-Joyant, Paris, December 10, 1912, no. 177, for Fr 435,000 to Durand-Ruel for Havemeyer); Mrs. H. O. (Louisine W.) Havemeyer, New York (1912–d. 1929; cat., 1931, pp. 120–21, ill.) Exhibition History Paris. 6, rue le Peletier. "3e exposition de peinture [3rd Impressionist exhibition]," April 1877, no. 41 (as "Danseuses à la barre"). New York. The Metropolitan Museum of Art. "The H. O. Havemeyer Collection," March 10–November 2, 1930, no. 57 (as "Dancers Practising [sic] at the Bar [sic]") [2nd ed., 1958, no. 103, as "Dancers at the Bar (sic)"]. Museum of Fine Arts, Boston.

"Masterpieces of Painting in The Metropolitan Museum of Art," September 16–November 1, 1970, unnumbered cat. (p. 83). New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 15, 1970–February 15, 1971, no. 376. New York. The Metropolitan Museum of Art. "Impressionism: A Centenary Exhibition," December 12, 1974–February 10, 1975, not in catalogue. New York. The Metropolitan Museum of Art. "Degas in the Metropolitan," February 26–September 4, 1977, no. 15 (of paintings). New York. The Metropolitan Museum of Art. "Degas," September 27, 1988–January 8, 1989, no. 165. New York. The Metropolitan Museum of Art. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no. A216.

References "Exposition des impressionnistes: 6, rue Le Peletier; 6." La Petite république française (April 10, 1877), p. 2 [reprinted in Ref. Berson 1996, vol. 1, pp. 175–76]. Paul Mantz. "L'Exposition des peintres impressionnistes." Le Temps (April 22, 1877), p. 3. Charles Bigot. "Causerie artistique: L'Exposition des "impressionnistes"." La Revue politique et littéraire 44 (April 28, 1877), p. 1047 [reprinted in Ref. Berson 1996, vol. 1, p. 135]. G. Rivière. "Les Intransigeants et les impressionnistes: Souvenirs du salon libre de 1877." L'Artiste 2 (November 1, 1877), pp. 298–302 [reprinted in Ref. Berson 1996, vol. 1, pp.

186–87]. George Moore. "Degas: The Painter of Modern Life." Magazine of Art 13 (October 1890), p. 423, considers it perhaps the finest of Degas's ballet pictures. Arsène Alexandre. "La collection de M. Henri Rouart." Les Arts 1 (June 1902), p. 10, ill. p. 5, states that Rouart prevented Degas from retrieving this picture for revisions. Julius Meier-Graefe. Modern Art, Being a Contribution to a New System of Aesthetics. London, 1908, vol. 1, p. 281, dates it 1878. Gustave Geffroy. "Degas." L'Art et les artistes 7 (April–September 1908), ill. p. 21, erroneously calls it a pastel. Georges Durand-Ruel. Letter (probably to Mrs. Havemeyer). December 24, 1912, relates Degas's comments regarding the medium and care of this painting. P.-A Lemoisne. Degas.

Paris, 1912, pp. 71–72, pl. XXVIII, dates it 1877; incorrectly identifies the medium as tempera; states that two versions exist, one in the Rouart collection and a replica with variations in the Havemeyer collection [the latter probably refers to L460, then in the Havemeyer collection, now private collection; see Refs. Havemeyer 1961 and 1993]. R. R. M. See. "Rouart Sale Echoes." American Art News 11 (December 28, 1912), p. 5, reports various unconfirmed rumors regarding the Rouart sale, including that Durand-Ruel "received an unlimited commission from an American woman collector" to bid on this painting and that the buyer was Mrs. Sears of Boston. R[oyal?]. C[ortissoz?]. "Modern Pictures at the Sale of the Rouart Collection." New York Tribune (December 15, 1912), p. 27, ill. Charles Louis Borgmeyer. The Master Impressionists. Chicago, 1913, pp.

85, 87–88, 219, ill. p. 83, notes that the price paid for this picture at the Rouart sale set a record high for a work by a living artist. Mary Cassatt. Letter to Durand-Ruel. March 11, 1913 [published in Lionello Venturi, ed., "Les Archives de l'impressionnisme," Paris, 1939, vol. 2, pp. 131–32]. R[obert]. E. D[ell]. "Art in France." Burlington Magazine 22 (January 1913), p. 240, repeats the rumor that it was purchased by Mrs. Sears. Mary Cassatt. Letter to Durand-Ruel. February 12, 1914 [published in Lionello Venturi, ed., "Les Archives de l'impressionnisme," Paris, 1939, vol. 2, p. 133]. Armand Dayot. "L'Atelier de Degas." L'Illustration 76 (March 16, 1918), pp.

256–59 [Engl. translation published in Ref. Rabinow 1997, p. 310]. Paul Lafond. Degas. Vol. 1, Paris, 1918, p. 150, ill. opp. p. 150, relates Degas's reaction to the high price brought by this picture at the Rouart sale. George Moore. "Memories of Degas (conclusion)." Burlington Magazine 32 (February 1918), p. 64. Jacques-Émile Blanche. De David à Degas. Paris, 1919, p. 305. Paul Lafond. Degas. Vol. 2, Paris, 1919, p. 27, repeats Lemoisne's [Ref. 1912] assertion that there are two versions of this picture. Henri Hertz. Degas. Paris, 1920, pp. 99, 108. François Fosca. Les Albums d'art Druet. Vol. 6, Degas, 24 phototypies. Paris, [1927], pl.

2. Harry B. Wehle. "The Exhibition of the H. O. Havemeyer Collection." Metropolitan Museum of Art Bulletin 25 (March 1930), p. 55. "The H. O. Havemeyer Collection." Parnassus 2 (March 1930), p. 6. H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 120–21, ill. Louise Burroughs. "Degas in the Havemeyer Collection." Metropolitan Museum of Art Bulletin 27 (May 1932), p. 144. Georges Grappe. Degas. Paris, 1936, pp. 60–61, ill. Paul Poujaud. Letter to Marcel Guérin. July 11, 1936 [Engl. transl. published in Marcel Guérin, ed., "Degas Letters," Oxford, 1947, p.

236], relates that Degas gave this picture to Rouart in exchange for one which the artist had retouched and spoiled, leading Rouart to keep this one padlocked [see Ref. Alexandre 1902]. Camille Mauclair. Degas. London, [1937], p. 167, pl. 149, as "Dancing-Girls Practising at the Bar". Agnes Mongan. "Degas as Seen in American Collections." Burlington Magazine 72 (June 1938), p. 301. Hans Graber. Edgar Degas: Nach Eigenen und Fremden Zeugnissen. 2nd, augmented. Basel, 1942, pp. 179, 217, ill. opp. p. 140 [Engl. translation published in Ref. Valéry 1960], publishes Ernest Rouart's account of his father's acquisition of this picture; Rouart confirms that Degas wished to paint over the watering can but dismisses the story that the painting was kept chained to the wall. E. Tietze-Conrat.

"What Degas Learned from Mantegna." Gazette des beaux-arts, 6th ser., 26 (July–December 1944), p. 417, fig. 4. Marguerite Rebatet. Degas. Paris, 1944, pl. 91. Denis Rouart. Degas à la recherche de sa technique. Paris, 1945, pp. 10, 70 n. 13, ill. p. 11 [English ed., 1988, p. 20, ill. p. 21 (color)]. P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984]. Paris, [1946–49], vol. 1, pp. 93, 200, 239 n. 118; vol. 2, p. 224, no. 408, ill. p.

225, dates it about 1876–77; suggests comparison with a drawing in the collection of Mme Jacques Doucet and catalogues a study (L409; now British Museum, London); states in vol. 1 that the Museum's painting was "without a doubt" the picture shown as no. 41 in the third Impressionist exhibition, yet in vol. 2 identifies a picture of a single dancer (no. 421) as the one probably in the exhibition; quotes Degas's reaction to the high price for the painting at the Rouart sale: "Je suis comme le cheval qui gagne le grand prix et qui n'a que son avoine". Lillian Browse. Degas Dancers. New York, [1949], pp. 32, 38, 353, pl. 46, alternately calls it "Danseuses à la Barre" and "Deux Danseuses à la Barre"; dates it 1876–77; erroneously asserts that the medium is tempera. Theodore Rousseau Jr.

"Degas: From Classicist to Modern." Art News 48 (April 1949), p. 21, finds the cool colors reminiscent of Velázquez's "Las Meninas". Daniel Catton Rich. Edgar-Hilaire-Germain Degas. New York, 1951, pp. 30, 74. Douglas Cooper. Pastels by Edgar Degas. New York, [1952?], p. 16, under no. 4. Robert Rey. Degas. Paris, 1952, pp. xxiv–xxv, pl. 32. Pierre Cabanne. Edgar Degas. Paris, [1957], pp. 35, 108, under no. 36, p. 112, no. 63, pl. 63 [English ed., 1958, pp. 35, 108 under no. 36, p. 113, no. 63, pl.

63], refers to it alternately as "Dancer at the Exercise Bar," "Dancers at the Exercising Bar," and "Danseuses à la Barre"; dates it about 1876–77. A. Hyatt Mayor. "The Gifts that Made the Museum." Metropolitan Museum of Art Bulletin 16 (November 1957), ill. p. 96. François Fosca. Corot, sa vie et son oeuvre. Brussels, 1958, p. 176, mentions it among paintings by Degas that show the influence of Corot. Alfred Frankfurter. "Midas on Parnassus." Art News Annual 28 (1959), ill. p. 38. Paul Valéry. Degas, Manet, Morisot. New York, 1960, p. 92. Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. New York, 1961, pp. 252–53, 257, refers to two versions of this subject, saying "M.

Henri Rouart bought the large "Danseuses" and Mr. Havemeyer bought the other" [Mrs. Havemeyer eventually acquired the Rouart picture; the second work to which she refers is L460 (now private collection); see Ref. Havemeyer 1993]. Alfred Frankfurter. "Picasso and His Public." Horizon 4 (November 1961), p. 6, translates Degas's reaction to the price paid for the painting at the Rouart sale as "I feel exactly like the horse that has just won the Grand Prix and sees the cup being handed to the jockey" [see Ref. Lemoisne 1946–49]. Jean Sutherland Boggs. "Danseuses à la barre by Degas." National Gallery of Canada Bulletin 3 (1964), pp. 2–3, fig. 2. Daniel Halévy. My Friend Degas. Middletown, Conn., 1964, pp. 108, 111–12 [French ed., 1960, repr. 1995, pp.

187, 191–92]. Denys Sutton. "The Discerning Eye of Louisine Havemeyer." Apollo 82 (September 1965), fig. 4. Jean Bouret. Degas. New York, 1965, p. 259, ill. p. 256 (color). Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 78–81, ill. Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill. Alfred Werner. Degas Pastels. New York, 1968, p. 13. John Rowlands. "Treasures of a Connoisseur: The César de Hauke Bequest." Apollo 88 (July 1968), pp. 46–47, discusses the oil study for this picture (British Museum; L409).

Fiorella Minervino in L'opera completa di Degas. Milan, 1970, p. 110, no. 497, ill. and colorpl. 39. François Duret-Robert Preface by René Huyghe in L'Impressionnisme. [Paris], 1971, p. 305. Theodore Reff. "The Technical Aspects of Degas's Art." Metropolitan Museum Journal 4 (1971), p. 146, fig. 7 (detail), describes the technique of "peinture à l'essence". Richard J. Wattenmaker. Puvis de Chavannes and the Modern Tradition. Exh. cat., Art Gallery of Ontario. Toronto, 1975, p. 28 n. 2. Theodore Reff. Degas, The Artist's Mind. [New York], 1976, pp. 277–78, 300, 337 n. 25, fig. 190 (detail), as "Dancers at the Bar". Charles S. Moffett and Elizabeth Streicher.

"Mr. and Mrs. H. O. Havemeyer as Collectors of Degas." Nineteenth Century 3 (Spring 1977), p. 25, fig. 4. Charles S. Moffett. Degas: Paintings in The Metropolitan Museum of Art. New York, 1979, pp. 11–12, colorpl. 21, dates it 1876–77. Ian Dunlop. Degas. New York, 1979, pp. 124, 223. Eugénie de Keyser. Degas: Réalité et métaphore. Louvain-la-Neuve, 1981, pp. 61, 66. Roy McMullen. Degas: His Life, Times, and Work. Boston, 1984, pp. 305–7, 360, 364, 464, ill., compares the composition to that of "Laundresses Carrying Linen" (New York, private collection). Suzanne Folds McCullagh in Degas in The Art Institute of Chicago. Exh.

cat., Art Institute of Chicago. Chicago, 1984, p. 91, fig. 39-1. Charles F. Stuckey in Degas: Form and Space. Ed. Maurice Guillaud. Exh. cat., Centre Culturel du Marais. Paris, 1984, pp. 56, 58, 60 n. 86, ill. p. 163 (color detail) and fig. 142 (color). Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 74–75, 250, ill. (color). Götz Adriani. Degas: Pastels, Oil Sketches, Drawings. Exh. cat., Kunsthalle Tübingen. New York, 1985, p. 109 n. 184, p. 113 n. 287, p. 364, under nos. 102 and 103, discusses and illustrates studies for this picture. Frances Weitzenhoffer.

The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 208–9, 255, colorpl. 147, describes the events surrounding Mrs. Havemeyer's purchase of this picture through Durand-Ruel at the Rouart sale in 1912, and notes that it was the costliest picture in the Havemeyer collection. Eunice Lipton. Looking into Degas: Uneasy Images of Women and Modern Life. Berkeley, 1986, p. 208 n. 29. Denys Sutton. Edgar Degas: Life and Work. New York, 1986, p. 178, colorpl. 157, dates it about 1876–77. Richard R. Brettell in The New Painting: Impressionism 1874–1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, pp. 204, 217, no. 46, ill.

(color), conjectures that either this picture or Lemoisne no. 421 (present location unknown) was included in the third Impressionist exhibition in 1877. Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, p. 23, colorpl. 8, dates it 1876–77. Richard Thomson. The Private Degas. Exh. cat., Whitworth Art Gallery, Manchester. London, 1987, p. 48, fig. 61, as "Two Dancers at the Bar"; dates it about 1876–77. Horst Keller. Edgar Degas. Munich, 1988, pp. 102, 175, colorpl. 94. Michael Pantazzi in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 249, 276–78, 472, no. 165, ill.

(color), dates it 1876–77; discusses this composition in relation to the studies in the British Museum (L409), Musée d'Orsay, Paris, and the Acquavella collection, New York; calls it "one of the most happily phrased observations on the nature of rhythm, not only as the preeminent property of dance but also as a pervasive quality in nature"; confirms its inclusion in the Impressionist exhibition of 1877. Richard Thomson. "The Degas Exhibition at the Grand Palais." Burlington Magazine 130 (April 1988), p. 296. Jean Sutherland Boggs in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 23, 32 n. 13. Robert Gordon and Andrew Forge. Degas. New York, 1988, ill. p. 161 (color). John Rewald with the research assistance of Frances Weitzenhoffer. Cézanne and America: Dealers, Collectors, Artists and Critics, 1891–1921.

The A. W. Mellon Lectures in the Fine Arts, Princeton, 1989, pp. 164–65, 176 n. 23. Gary Tinterow and Anne Norton. "Degas aux expositions impressionnistes." Degas inédit: Actes du Colloque Degas. Paris, 1989, p. 307, identify it as no. 41 in the 3rd Impressionist exhibition. Richard Thomson. "The Degas Exhibition in Ottawa and New York." Burlington Magazine 131 (April 1989), p. 293. Shelley Fletcher and Pia Desantis. "Degas: The Search for His Technique Continues." Burlington Magazine 131 (April 1989), pp. 260–63, figs. 9–11 (color, overall and details), note that it was a part of a transitional phase when Degas was "struggling with technical solutions for abstract ideas"; discuss the picture's experimental mixed media. Anne Distel. Impressionism: The First Collectors. New York, 1990, pp.

185, 187, 239, 242, colorpl. 164. Colin B. Bailey in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Ed. Colin B. Bailey, Joseph J. Rishel, and Mark Rosenthal. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, p. 14. Carol Armstrong. Odd Man Out: Readings of the Work and Reputation of Edgar Degas. Chicago, 1991, pp. 38, 56, 184–85, 250 n. 22, fig. 13, dates it 1876–77. Jean Sutherland Boggs and Anne Maheux. Degas Pastels. New York, 1992, p. 181. Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. Ed. Susan Alyson Stein. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp.

252–53, 257, 289, 302, 337 nn. 372, 376, p. 338 n. 379, p. 344 n. 456. Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 260, fig. 106 (installation photograph from Exh. New York 1930). Gary Tinterow in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 36, 49, colorpl. 40, dates it 1876–77. Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 330, no. A216, ill. p. 329. Mari Kálmán Meller.

"Exercises in and around Degas's Classrooms: Part III." Burlington Magazine 135 (July 1993), p. 452, fig. 2, calls it "Two Dancers at the Barre" and dates it about 1876–77. Jean Sutherland Boggs in Degas Portraits. Exh. cat., Kunsthaus Zürich. London, 1994, pp. 72, 97. Five Impressionist Works of Art: Property of the Shelburne Museum. Sotheby's, New York. November 12, 1996, unpaginated, fig. 2 under no. 11. Ruth Berson, ed. "Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 1, pp. 118, 135, 167, 176, 186–87; vol. 2, p. 72, no. III-41, ill. p. 90.

Ann Dumas in The Private Collection of Edgar Degas. Exh. cat., The Metropolitan Museum of Art. New York, 1997, pp. 56, 72 n. 249, p. 126, remarks that the combination of different views of a single figure in this picture reflects the influence of Gauguin. Rebecca A. Rabinow in The Private Collection of Edgar Degas. Exh. cat., The Metropolitan Museum of Art. New York, 1997, pp. 310, 334 n. 9, fig. 396, dates it 1876–77. Gary Tinterow in La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme. Exh. cat., Musée d'Orsay. Paris, 1997, pp. 63–64, 108, fig. 27, dates it 1876–77. Azar Nafisi. "The Veiled Threat: The Iranian theocracy's fear of females." New Republic (February 22, 1999), p.

24, ill. p. 25, illustrates how the painting is reproduced in an Iranian art book where, because of censorship, the figures have been airbrushed out. Rebecca A. Rabinow in Degas and America: The Early Collectors. Exh. cat., High Museum of Art. Atlanta, 2000, p. 41, fig. 11 (color). Esmée Quodbach. "'The Last of the American Versailles': The Widener Collection at Lynnewood Hall." Simiolus 29, no. 1/2 (2002), pp. 60, 92, fig. 15. Jill DeVonyar and Richard Kendall. Degas and the Dance. Exh. cat., Detroit Institute of Arts. New York, 2002, pp. 107, 139, 283 n. 52, p. 284 n. 72. Ross King. The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism. New York, 2006, p. 372. Michael Pantazzi in Jane Kinsman.

Degas: The Uncontested Master. Exh. cat., National Gallery of Australia. Canberra, 2008, p. 257. Colin B. Bailey in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, p. 28. Richard Kendall and Jill DeVonyar. Degas and the Ballet: Picturing Movement. Exh. cat., Royal Academy of Arts. London, 2011, pp. 51, 260 n. 54, fig. 16 (color). Ann Hoenigswald and Kimberly A. Jones in Kimberly A. Jones. Degas/Cassatt. Exh. cat., National Gallery of Art. Washington, 2014, pp. 120, 147 n. 23, discuss the varying identifications of the picture's mixed media, the difficulty of identifying them, and the artist's unreliability in his own narratives on the subject. Erica E.

Hirshler and Elliot Bostwick Davis in Kimberly A. Jones. Degas/Cassatt. Exh. cat., National Gallery of Art. Washington, 2014, pp. 132–33, fig. 4 (color), discuss the sale of the picture to Havemeyer. Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, pp. 442, 447, no. 375, ill. pp. 381, 442 (color). Notes There is a pastel depicting the dancer on the right (L421, present location unknown), as well as three studies: one in oil on paper of both dancers (L409, British Museum, London), one in pencil of the dancer on the left (Mr. and Mrs. William R. Acquavella, New York), and one in charcoal of the dancer on the right (Cabinet des Dessins, Musée d'Orsay, Paris).

A lithograph after this picture was included in George William Thornley's album of fifteen lithographs after Degas, published by Boussod & Valadon in 1889. Timeline of Art History (2000-present) Essays Artventures: Degas's Dancers at the Barre Thursday, October 6, 2011 Degas's Dancers at the Barre Two Dancers at the Barre, early 1880s−c. 1900, Oil on canvas, 51 1/4 x 38 1/2 in. The Phillips Collection, Washington, D.C. Acquired 1944. This painting is the centerpiece of the current exhibition. Point....Flex.....Relevé-----these themes of ballet dancing were the obsession of Edgar Degas, an artist associated with Impressionism but known for his paintings and pastels of dancers. Washington's Phillips Collection recently put their large painting, Dancers at the Barre, under their conservator's care. In the process, they discovered wonderful color and took a deeper look into the process of this artist.

The exhibition Degas' Dancers at the Barre: Point and Counterpoint transports the viewer into Degas' mind and back into the opulent Garnier Opera House which opened in Paris in 1875. Most of the paintings, drawings and studies in the exhibition feature women, mainly ballerinas. After viewing the show, I once again get the feeling that Degas is the foremost among artists in his understanding of the strength of the female body, just as Michelangelo leads all artists in the understanding of the male bodies. However, unlike Michelangelo, Degas did not demonstrate knowledge of musculature or make his figures sensual. At times he appears to negate the underlying anatomy and distort in order to show the body's expressive possibilities. Ballet Rehearsal, c. 1885–91. Oil on canvas, 18 7/8 x 34 5/8 in. Yale University Art Gallery. Gift of Duncan Phillips, B.A., 1908 The composition is asymmetric, typical of Edgar Degas.

Degas's compositions are about contrast: left and right, point and counterpoint, up and down, orange and blue-green, line and shape, solid forms but with diaphanous clothes, stability and movement. He portrays movement with color and with spontaneous, oblique compositions, allying him with the Impressionists. He exhibited with them from 1873-1886. Arguably, Degas was the greatest of all draftsman during the 2nd half of the 19th century, a time of tremendous artistic creativity. Degas's studies of dancers reveal his desire to understand and express the outward effects of stretch and stress, not inner musculature. At this time, ballet was not the idealized performance art we imagine. Instead young girls worked long hours under difficult conditions, with much strain on their youthful physiques. Under Degas' interpretation, we witness the precision and tour de force of their labors. He drew and painted the rehearsals more frequently than actual performances. In Degas's early paintings, the viewers admire the dancers' poise and balance, as they move into difficult positions.

In later works, such as the signature piece of the exhibition, we see much contortion and distortion, somewhat like a Cirque du Soleil performance. Through Degas's drawings, paintings and pastels, we do not necessarily appreciate the body's outward beauty, but we understand its possibilities, flexibility and the strength of human effort. The bodies' movements are gestural and evoke strong feelings. Dancer Adjusting her Shoe,1885, Pastel on paper, 19 x 24 in. Collection of The Dixon Gallery and Gardens, Memphis, Tennessee; Bequest of Mr. and Mrs. Hugo N. Dixon, 1975.6. Drawings repeat poses in his paintings and often show changes of the artist's mind. Degas is unique amongst the Impressionists in the strength of his line. Outlines at times contrast with the soft tutus of transparent colors. But his colors are sometimes brilliant, particularly oranges and blue-green. There are also vivid bows of pink, yellow, orange and red. He is superb at using color contrast to create light and shadow. Degas painted mainly indoors, but he used natural light from windows to sparkle on his dancers.

He normally works with off-center compositions, an effective foil to the dancers in their shoes. His asymmetry is like the fragile balance of the ballerinas on the tip of their toes: it can be a precarious balance. The art of the ballerina is to remain strong and poised in difficult positions, and Degas balanced his asymmetric compositions artfully, which was equally a challenge. In a nearby gallery are the works of other artists, such as Manet 's Spanish Ballet . Sculpture helped Degas refine his vision and the exhibition includes 3 bronze-cast sculptures. Like any great artist, he worked on the same themes over and over, same pose with slight differences. Several late works are pastels, a ideal medium for his methods. The Phillips' exhibition also runs a filmed performance of Swan Lake.Hilaire-Germain-Edgar Degas, Two Dancers Resting, c. 1890–95, Charcoal on paper, 22 3/4 x 16 3/8 in. Private Collection. Posted by

Question: Which artist painted 'Dancer At The Barre'?
Answer: EDGAR DEGAS