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  Degas : pastels, oil sketches, drawings

Adriani, Götz
Language : EnglishLondon : Thames and Hudson, 1985407 orrialde : koloretako eta zuri-beltzeko irudiak ; 31 cm(Ikus) Testua: bitartekorik gabeISBN : 0500091684.Edgar Degas. Pastelle, Ölskizzen, Zeichnungen
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Ikasi Gozatu
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Orokorra / General
Arteleku 41 DEGAS deg (Browse shelf) Available 652869

"Edgar Degas. Pastelle, Ölskizzen, Zeichnungen" erakusketaren katalogoa. Catálogo de la exposición.

Bibliografia: 399-401 orrialdeetan.

Liburuan:
The brilliance of Degas' use of colour and the popularity of his dancing-girls reproduced on countless picture postcards have tended to overshadow what Degas himself regarded as the cornerstone of his art: his draughtsmanship. From the beginning of his career Degas' drawings had a more independent function than that of mere sketches: later too pencil, chalk, pastel and charcoal all played a crucial part in determining the character of his pictures. Degas repeatedly urged the primacy of line on his younger collleagues and, as far as his own output was concerned, drawing came to represent the essence: as Götz Adriani puts it in his perceptive accompanying essay, "Line was to Degas what colour was to Manet and the Impressionists. " It was line that brought Degas closest to his models and enabled him to capture with such immediacy the less romantic side of the world as he witnessed it: the "keyhole" observations of women performing their ablutions; the portrayals of prostitutes, jockeys, musicians and other working people, the fatiguingly contorted poses of his dancing-girls.
In this rich selection of pictures, a number published for the first time, the meticulous detail of the early pencil sketches can be compared with the furious late charcoal drawings, and fleeting chalk sketches with large pastels in which the colour is swept along by the draughtsmanship. Taken together, they exemplify the splendour and diversity of this artist's work on paper and substantiate Adriani's claim that the influence of Degas on his successors is considerably greater than conventionally allowed by art historians.

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