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Edgar Degas

  Edgar Degas has provided the world with a new vision of painting and creation. Influenced by Ingres (Neoclassical) and Delacroix (Romantic), two opposing schools of French painting in the early 19th century, Degas was able to become the greatest transition in French painting during the transition from classical to modern Sexual characters play a linking role.
  Although Degas participated in early Impressionist exhibitions from 1874 to 1886, he was dissatisfied with those painters who advertised Impressionism, and his works ran counter to the Impressionist movement. Many of Degas’s works are undoubtedly Impressionist in showing the instantaneous effects of light and brilliant colors, but the expressiveness of lines and two-dimensional composition make his artistic style distinctive.
  
  Enlightenment
  
  Edgar Degas was born on July 19, 1834 in a wealthy financial family in Paris, France. His father, Auguste, was a half-French, half-Italian banker. Her mother, Celeste Stein, is a Creole from Louisiana, USA. In 1845, at the age of 11, Degas entered the high school of Louis Legrand. There he received an orthodox education, learning Greek and Latin, and began painting with Leon Cogiet.
  When his mother died when Degas was 13, the task of raising him fell to his father, who was also a connoisseur of music and painting. The father and son are regulars at the major art museums in Paris, and they also frequent private collections. Degas benefited from these private collections of paintings. Particularly worth mentioning here is the work “The Bathing Girl” by Ingres, a French classicist painting master, which Degas admired.
  Degas went straight to university after graduating from Louis Legrand High School, a rare opportunity at the time. However, after only one semester at a law school, Degas gave up his studies and turned to Ingres’ favorite pupil, Lamotte, and began his painting career. Degas was 21 years old this year. Lamotte was an excellent painter, he encouraged Degas to attend classes at the Academy of Fine Arts, and what he taught brought Degas into the wonderful world of painting.
  
  Inheritance
  
  What played a crucial role in Degas’ growth was the time spent in the Louvre, where he spent countless afternoons copying the works of the masters and feeling the artistic style of the masters. In 1856, he set foot on Italian soil for the first time, and since then he has visited here many times, continuing his journey of learning from Giotto, Martini and other early Italian masters of painting. Here he also copied the Pompeii frescoes. Degas was most interested in the Italian’s simple brushstrokes and paint-saving painting techniques, which were reflected in his later works.
  Another major influence on Degas’ early work came from Ingres, the last representative of the Neoclassical school. Ingres’ painting style with neat lines and coordinated outlines has a considerable influence on Degas’s works. It’s not hard to see this if you look closely at Degas’s portraits and nudes. Ingres’ lines are so simple that they are almost austere, while Degas’s lines look smoky, creating a sense of atmosphere.
  Two other figures who had a major influence on Degas’s artistic education were Delacroix and Daumier. Degas was deeply inspired by Delacroix’s colorful changes, romantic themes and ideas, and depictions of dynamic horses. And Daumier’s distinctive composition, keen observation of things and the urban life he depicted fascinated the young Degas.
  Of course, Degas was also influenced by his contemporaries and the changes in French society at that time. Apart from studying in Italy and several brief trips, including to the United States, Degas spent his entire life in Paris. He also often exchanged skills with painters such as Manet, Pissarro, and Cezanne, and discussed different painting viewpoints.
  
  Experience
  
  Degas ‘s notebook not only retains a large number of sketches, but also records many of his new ideas for painting techniques. He is talking to himself by taking notes, recording his views on different artistic viewpoints in the notes, and listing various new painting techniques to try.
  Degas saw painting as a science. He claimed that all he had done was the result of the achievements of the research masters. He also said that he did not know what inspiration or impulse was, especially understanding. At the same time, Degas also said that painting requires a sense of mystery, meaning that something is hard to define. He also says that even if you’re depicting a scene from nature, you have to be selective in your composition and combine lines and colors in unique ways.
  For Degas, memory is a very important aspect of painting. As a student, Degas may have read Lecoque de Bois-Baudran’s “Training the Memory of Art”. According to Bois-Baudran, Degas suggested that art students put the mannequins on the first floor and the easels upstairs, using this method to force themselves to note the shape and importance of the objects to be painted. detail. Degas himself often sketched, watching the model draw first, then letting the model leave and drawing from memory. In his notebook, he described the disguised effects of the combination of imagination and memory as follows: When memory and fantasy are freed from the constraints of natural authority, what a person depicts is the thing that truly impresses the most, and this is the The reproduction of the real thing.
  Loneliness is very important to Degas, he believes that when an artist finds his place, loneliness is necessary, because gossip and gossip can confuse people’s judgment and hinder people’s creativity. Degas especially advised those artists to stay away from art criticism, arguing that an artist’s stroke was worth a critic’s book.
  Degas’ notebooks are full of incisive assertions worthy of quoting, and they retain the essence of an instant. He wrote in his notebook that everyone has talent at 25, but it’s not easy to have it at 50. He also wrote, “When you don’t know how to paint, it’s not difficult to paint; but when you know how to paint, it’s different.” He also wrote, “If you want to please people, you can’t make art.” He Compare inauthenticity, gimmicks, and deceit in painting to committing fraud.
  
  concept
  
  For Degas, getting just the right amount of paint is the most important thing, more critical than the quality of the painting and the use of color. His greatest dissatisfaction with modernist art was that they did not pay enough attention to painting skills. Degas, by contrast, was constantly practicing painting. Degas’s sketches are handy, he is good at using clear, continuous lines to outline the shape of objects. He describes himself as “born to paint”. Of course, Degana’s keen and decisive power of observation enables him to capture the typical gestures of expressing individuality in an instant, and to accurately portray realistic dynamics. Of course his extraordinary power of observation is formed in repeated training. He emphasized: “It is very necessary to practice repeatedly on a painting subject, to paint ten times, a hundred times.” He believes that “art does not have necessary coincidences, and so does movement.”
  Degas in his many paintings The point of view emphasizes that painting is not a reproduction of a natural scene but a change. “What an artist paints should not be what he sees with his own eyes, but what others see.” He also reminded: “Painting is not a simple composition, but how to look at the composition.” In Degas’s view , painting is the artist’s method of dealing with composition, rather than completely copying the image like photography.
  
  Degas’s Unique Picture Layout
  
  Picture layout is another striking feature of Degas’s paintings. Influenced by Japanese painting, Degas began to explore painting concepts of asymmetrical layout and panoramic views. Degas especially recommends viewing objects from unique perspectives, looking up or down. In Degas’s dancing girls and bathing girls, he often uses perspective techniques to stimulate the viewer’s desire to peep secrets by means of the interactive effect produced by the distance between the viewer and the picture. Another way of expressing figures by Degas is to place figures on the edge of the canvas, or even cut out a part of the picture, to produce the effect of instant snap shots, which may be influenced by the characteristics of photography and Japanese painting. To Degas, an asymmetrical picture layout looks more natural than a deliberately arranged picture.
  Degas insisted that line was more expressive and creative than color. The original color of the object is not important, what is important is the precise brushstrokes and the vibrant color tone displayed by the whole picture. He often juxtaposes two complementary colors for tension and brightness.
  Degas’s capture of momentary dynamic images, innovative composition, precise and meticulous painting techniques and unique perspective make him one of the masters of late 19th century art. His representative works include “After the Bath”, “The Ballet’s Rehearsal Field”, “The Blue Dancer”, “The Ironing Woman”, “The Orchestra of the Paris Opera”, “Girl Head” and so on. He is generally considered an Impressionist, but some of his works are more classicist, realist or romantic.
  Degas never married, and apart from attending some public parties, he was a lonely man. Since 1871, he has had problems with his vision, and his eyesight is gradually declining. He stopped taking notes until 1886, in order to protect his eyesight, and he had not stopped until then. The last 20 years of his life were spent in darkness. After he became blind, he turned completely to sculpture. Degas died in Paris on September 27, 1917.

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