Life and career
Degas began with intensive drawing and study of earlier European art. He became associated with the Impressionist exhibitions while retaining a strong interest in constructed compositions, indoor light and the human body. Across his later career, dancers and everyday encounters became testing grounds for painting, pastel, printing and sculpture.
Museum biography (English)
Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the École des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, Cézanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.
Creator biography · The Cleveland Museum of Art · CC0Works across a career
Selected examples, not a complete catalogue. Read date ranges and attributions before inferring a career sequence.
- 01
1856
1856
Four Studies of the Head of a Young Italian Woman
- Material / technique
- graphite
- Attribution / role
- Museum attribution
- Collection / source
- The Cleveland Museum of Art
Museum catalogue note
This sheet of head studies unites three fundamental characteristics of Degas's art: consummate draftsmanship, captured movement and expression, and an almost obsessive attention to the attitudes of the female figure. Drawn in 1856 during his first trip to Italy, the sheet represents the model in successive positions and expressions of suffering. The name inscribed at the upper right-Rita Cacciala-must be that of the model. Writing models' names and addresses on figure studies was a common practice among artists, providing them with a handy reference of models they might want to contact for future use.
Collection text · The Cleveland Museum of Art · CC0 - 02
c. 1878–80
c. 1878–80
Paul Lafond and Alphonse Cherfils Examining a Painting
- Material / technique
- oil on wood panel
- Attribution / role
- Museum attribution
- Collection / source
- The Cleveland Museum of Art
Museum catalogue note
The upper left corner of this painting bears a dedication by Degas "to his dear friends." The double portrait depicts Paul Lafond (left), future curator of the art museum at Pau, in southwestern France, and Alphonse Cherfils (right), an art collector and defender of the Impressionists. Through the influence of these friends, Degas's works were selected for the annual exhibitions of the Société des Amis des Arts (Society of Friends of the Arts), and his painting, A Cotton Office (1873), was the first by the artist to be purchased by a museum. Since the painting held by the two men is probably by Degas, this intimate image commemorates both personal and business relationships.
Collection text · The Cleveland Museum of Art · CC0 - 03
c. 1895
c. 1895
Frieze of Dancers
- Material / technique
- oil on fabric
- Attribution / role
- Museum attribution
- Collection / source
- The Cleveland Museum of Art
Museum catalogue note
This painting may depict a single dancer seen from four different viewpoints. The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure. Degas's unusual presentation may have been inspired by the photographs of Eadweard Muybridge (1830-1904)
Collection text · The Cleveland Museum of Art · CC0
Compare materials, style and colour
Compare the controlled graphite head studies of 1856, the mid-career oil portrait of two men examining a painting, and the oil-painted dancers of the 1890s. Graphite and oil make different kinds of edges; the two paintings also differ in support and handling. Cropping and repeated bodies can make carefully arranged compositions feel like momentary glimpses.
Material
What can this material do? Distinguish a design, an original object and a later impression or cast.
Style
Compare viewpoint, edges, composition and marks. Which choices persist, and which change?
Colour
Compare palette, contrast and light. Consider the support, printing, surface treatment and ageing.
Sources and further reading
Original educational interpretation; catalogue descriptions are separately credited. Each study links to its source. Reference entries without images are not added to the comparison timeline.
