Dancers

Dancers in the Wings, 1880
Edgar Degas (French, 1834-1917)
Pastel and tempera on paper, mounted to paperboard
27-1/4 x 19-3/4 in.
Norton Simon Art Foundation M.1977.06.P
Norton Simon Museum

I love when you fall a work of art at first glance and then upon research and more you find out it is even more awesome than you originally thought. I have never been a fan of Degas, I found his subject matter a bit dull (sorry ballet fans) and have never been particularly attracted to the pastel colors of so much of impressionism. I never once doubted the awesome talent of the artist, it just wasn't for me.

While searching for something else I came across this gorgeous piece by Degas. Drawn in by both composition and the colors, which are almost juicy, I was excited to discover that the work is actually made up of at least 10 pieces of paper (Norton Simon Museum website) which were used to enlarge the drawing. I've always been fascinated by what pastel can be in the hands of someone like Degas. The work is also part tempera, but this is definitely something that cannot be discerned via the digital world (see as much art as you can in person!). I would love to see this work and really understand how the mediums are used.

La Coiffure

Edgar Degas (183401917)
Combing the Hair ('La Coiffure') ca. 1896
Oil on canvas
114.3 x 146.7 cm.
National Gallery, London.

One of my favorite paintings in the National Gallery. I think the initial pull was the monochromatic color. Despite the limited color palette (though there exists a wonderful red palette), the painting stands out. The pedestrian subject matter creates a focus on the detail.

Degas is most well-known for his paintings of dancers, subject matter which has never particularly appealed to me. I prefer these simple interior scenes, reminding me of Vuillard (yet his interiors have a greater focus on pattern). I find it fascinating that the maid has the same color hair as the girl who's hair she combs. It creates an affinity between the women, one that most likely doesn't actually exist outside of the scene Degas presents to us.

The National Gallery is collaborating with the London Film School on a project (Transcriptions) in which the students choose a work in the gallery as inspiration for a short film piece. Here is Mistress inspired by La Coiffure.

Victoria Dubourg

Portrait of Victoria Dubourg, ca.1866-68
Edgar Degas (1834-1917)
Oil on canvas
81.3 x 64.8 cm
Toledo Museum of Art
image by me.


One of my favorite paintings at TMA is not what one expects from Degas. While I've always thought Degas paintings were nice to look at, I was never a fan of the focused subject matter of the ballerina (I've learned there is more, but we get so blinded by the popular). This painting shifts far from that focus. There is something intriguing about this wonderful portrait. It is one of those works that simply caught my eye as I was on my way to look at something else, now I can't walk by it without giving it a little attention.

Paintings can be realistic in that they give us a faithful reproduction of what one may see in real life, but this oftentimes is only topical in its realism. Portraits are often dolled up, the sitter overly aware that this is a portrait, they looking what they may consider their best (this a choice of the artist and/or the sitter). Here, with her relaxed position, her gaze towards the viewer, she could be simply be listening to a companion's story or just shifting leaning in because someone called her name. I think this portrait achieves an additional layer of realism, one in which you can really get a taste of this woman, who she might be. Victoria Dubourg is a fellow painter )of flowers) as well as the wife of Henri Fantin-Latour another peer of Degas.