Edgar Degas.pdf

8/17/2019 Edgar Degas.pdf

1/56

DEGAS

BY

CAMILLE

MAUCLAIR

THE

HYPERION

PRESS


2/56

S3.00

DEGAS

by

CAMILLE

MAUCLAIR

an

artist

should

be

both

celebrated

and

known

is

not

very unusual,

for

originality

always retains

some

of

secrets.

It has

been the fate of Degas

to

one

of

the most

greatly

admired

and most

misunderstood

artists

of his time.

his death

in

1917,

we

have,

in

constant

of his

immense

and

varied

frequently

modified

and changed

our

tending

steadily towards

an

in-

understanding and

respect for this

French artist.

superb

selection

of

the work

of Edgar

is

presented here

including

his great-

and best

known

pictures.

The

sixteen

in

full

color and the

forty

in

and

white

represent a

final

choice from

of

works of

art owned

by

private

and

institutions

both

here

and

Mauclair is the author

of many

on art

and was formerly

the

art critic

Le

Figaro in

Paris.

Thanks

to

the enthusi-

cooperation of such private

collectors

museums

asThe Art Institute

of

Chicago,

(Chester Dale Collection, the Frick Col-

the

Lewisohn

Collection, the

Metro-

Museum

of

Art,

the National

Gallery

Art and many others,

a

new

and

perma-

collection

of

the

works

of

Degas

is

published.

Published

hy

THE

HYPERION

PRESS,

Inc.

Distributed

by

lELL,

SLOAN &

PEARCE,

Inc.

NEW

YORK


3/56

Priirtrrty r\(

n

The

Hilla

von

Rebay

Foundation


4/56


5/56

DEGAS


6/56

SELF

PORTRAIT

OF

THE

ARTIST

The

Louvre

Museum, Paris

1855 Oil

32

X

261/2


7/56

EDGAR

DEGAS

by

CAMILLE

MAUCLAIR

yidapted

by

LILLIAN DAY

Cola^^'t^-n

Published by

THE

HYPERION

PRESS

Distributed

by

DUELL,

SLOAN

and

PEARCE

NEW

YORK


8/56

THIS

VOLUME,

ONE

OF THE HYPERION

ART

MONOGRAPHS,

WAS

EDITED

BY AIMEE CRANE

AND

PUBLISHED IN

MCMXLV

FOR

THE

HYPERION

PRESS

Printed

in the

United

States of

America

Copyright

1945

by The

Hyperion Press,

Inc.

New

York.


9/56

THE

DJXCIXC

LESSO.X

188U 85

Oil

Collectio) Mrs.

Es/Zwr

Eisk(-

Htininiond, Snn/n lidthtiiit

14',

X .H-«.,

DEGAS

by

CAMILLE

MA

UCLA IR

tr

-\^HA

r

AN

artist

I

inadequately

Jt

nality seldon

Z'

If

S

^'

^^^'

artist

should be renowned and

at

the same time

ly

known,

is not unusual,

tor

creative

origi-

lom reveals

its

secret.

During

the

twenty-

eight

years which

have

elapsed since

the

death of

Degas,

we

have

continuously

amended

our estimates

of

his

character

and the meaning of

his

work, as

w

ell as

its place

in

the

French

School

ot

painting.

Fundamentally

his life was

a

secret

one.

He

remained

a

bachelor

and

a

misanthrope-

—

if reserving

all

his

faculties

for

work,

and surrendering comforts and

vanities

lor

his

art,

can

be interpreted as misanthropy.

Associated with

the Impressionists, he was

not

truly

of

their

number.

He met, at

the

Cafe Guerbois

in

]*aris,

with

a

group ot

painters

and

novelists

who

assembled to

acclaim

the

principles of

a new a-stheticism. They were

in

common

revolt

against

academic teachings

and delusive literary

con-

ceptions,

and in

agreement

as to the necessity of being true

to

life,

each

in

his

fashion. Zola and Manet

were

the

leading

figures in a

group

that

included Monet,

Renoir, I.egros,

Pissarro,

Fantin-Latour,

and

many others.

The

correct,

reserved and sarcastic

Degas

listened in

silence

to

their

mani-

testoes, and fought

shy

of

theories.

He

was hardly a natural-

ist,

in the

sense

that the

word

was

used, and still less

an

Impressionist, when

the

term

was introduced a

few

year

later.

People called

him

a

realist, and he

was,

in

the

sens

that

he

endeavored

always

to

portray truth,

but at the sam

time

he practiced an

un-literary, almost

abstract art. H

searched

everywhere

for movement

and

line.

Mere

subjec

matter

interested

him less

and less,

and

tor the

concept

o

beauty,

he substituted

that

of

character.

No

art

is

less

spontaneous than

mine,

which is

wholl

reflective,

he declared, and to a

painter friend,

Vou nee

life

in

its

natural, and

I in

its

artificial

form.

Nevertheless, though

often

opposed

to their

tendencies

he exhibited with

his friends and had the

courage to

clai

his

share

of

their

castigation

and

ostracism.

* *

*

Edgar

Hilaire

Germain

de

Gas

was

born in Paris, on

th

Rue St. George,

on

June

29,

1834. He detested the

nam

Kdgar,

and

disdaining

the

use

of

the

nobiliary

particle, signe

himself just

Degas. His father,

bf)rn

in

Naples,

came o

ancient Breton

stock;

his

mother b^-longcd to

the

Musson

family,

which,

several

generations before, had

emigrated

t

New Orleans

and

amassed

a

fortune.

He

pursued

classical studies and

even attended

course


10/56

at

the

School of Law,

atul

then

he declared his intention

of

becoming

an

artist.

No obstacle

whatever was

placed

in

his

way.

He

devoted himself

to his profession

without

material

cares

and

entered

the Ecole

des

Beaux

Arts in 1855. He

was

then

a

pale

young man,

his sensitive

face

framed

by

soft

brown

hair. His

deep-set pensive

eyes contrasted

with his

pouting,

sensual

lips

and

determined chin.

He was

even then

defiant and

caustic.

Femininity scarcely existed

for him,

and

while

he

formed

friendships,

they

never

became

too intimate.

He

made

but

a

brief

stay

at

the

Ecole

and

then studied

with

Lamothe,

the

pupil of

Hippolyte

Flandrin,

who in turn

had

been

a

pupil

of

Ingres.

Then

he

went

to Italy,

In

Rome

he formed

friendships with

painters at

the \'illa

Medici. He met

Georges

Bizet and Gustave

Moreau, whose

friendship lasted

until severed by death. In

Tuscany

he

de-

voted

himself to

drawing,

painting

landscapes,

and

copying

works

by

masters

of

the

Fourteenth

Century. He

came

under

the

influence of Poussin,

and

more and more under

the

spell

of the great

classicist,

Ingres.

On his return

to Paris

he

undertook,

simultaneously

the

production

of historical

pictures

and

the

completion

of a

large

portrait begun in

Florence

at the house of his uncle,

the

Senator Baron

Bellelli, depicting

him

at his

home

with his

wife and

daughters. This work,

which

remained

unknown

until

after

the

artist's death,

is

severe and

frigid. It

dissatis-

fied

him

and he

never

again undertook

a group

of similar

(.limensions.

Fortunately, however,

he did

not

renounce

those

isolated figures

which have

raised

him to

the rank of

one

of

the

finest

psychological portraitists.

From

1860

to

1865

he devoted

himself

to

historic

and

mythological subjects.

This confused

a

generation

which

identified him with

Impressionism, with

dancing

girls, and

racing horses. He was seeking the

association

of

lines and

the

solution

of

technical problems. He

was

admitted

to

the

Salon,

though quietly;

the jury appreciated

the

science

of

his

draughtsmanship and hoped

that

he

would

become

a

historical painter.

Suddenly

he

abandoned

the

path.

Was

he

disturbed

by

the

paradox

between Ingres,

whom

he

adored,

and

Delacroix,

whom

he

admired.'' Was

he

trying

unsuccessfully

to

conciliate

classicism

and

romanticism?

Or

was he coming

to the

realiza-

tion

that

he

lacked imagination and was destined

to express

only

what

he

saw?

He

wrote

nothing and said little

about

himself

at this

time, so we

can onlv

conjecture.

He possessed his own conception

of realism

and

truth, and

never subscribed

to the new

dogma,

do

nothing

save

in

the

presence

of

nature

and the

open air.

What

influenced

him

most in this period

of

uncertainty

was

Japanese

art.

Hoku-

sai's

magic

line

made

him

glimpse

the

possibility

of uniting

to the

Primitives

and the

Classicists a

new

expression of

contemporary

subjects. He no

longer exhibited

his works

except

on

rare

occasions

at

the

Durand-Ruel

Galleries. He

had

no

need

to

sell

his

pictures

for

a livelihood,

and

he

held

renown

in

derision.

In

1872 Degas

made

a

journey to New

Orleans

to

visit

his uncle

Musson, and

his brothers

Achille and Rene

who

were

wealthy

cotton

merchants.

He depicted

them in

their

office with the clear

precision

of

a Dutch master.

MADAME

JULIE BURTIN

1863

Pencil

drawing

143f'

x

10^'

The

Fogg Museum

of

Art, Harvard

U?jiversity,

Collection

Paul

J.

Sachs

But

his

sojourn

in

America

seems to have had no

mo

influence

on his

work

than

his tours

in Morocco

and

Spa

his

Belgian

and

Dutch

excursions,

or

his

visits

to

Pausilip

where

his family had

a villa.

Paris

alone

captivated h

It

is only

a

very

long

sojourn,

he wrote,

which

teac

one the habits of a race; that

is

to

say,

its charm.

The

inst

taneous,

that is

photography,

nothing

else.

He

was captivated

in Louisiana

by the white

babies

in

black arms

of

negresses,

by

the gardens

and the

steamboa

but he

did

not

paint them.

The

women,

he

wrote

to another friend,

are

almost

pretty,

and to

the

charms

of many

of them is

added

that

ug

ness

without

which

they would

not

be

perfect.

But I

f

that

their heads are

as

weak

as mine ... on

your

hono

refrain

from repeating what I have

told you,

that

the

wom

of

New

Orleans

are

weak-minded.

Refrain

from mention

it

to a

soul

knowing

anyone in these parts. This is a seri

matter.

There

is

no trifling

in

New

Orleans.

My

dea

would

not wipe

out

such an

affront.

Around

1865,

when

Degas was thirty-one,

he

made

choice of subjects

—

the

racing and the dancing worlds.

visited

the race-course

to

satisfy his

passion

for

movemen

He

placed

his scenes

of the

turf in

true

and

pleasing la

scapes,

but

above

all,

he strove

to

fix

the mobility

of

animals.


11/56

Then

he directed

his

steps

to the opera, first

of

all to the

orchestra,

tor

he

loved music

and had

many friends among

the

instrumentalists.

It

was

natural that

when

he

relin-

quished historical

and

legendary

figures to

turn

his

attcnrion

to

the life

around him,

he

shouUl

seek his

material in the

world of

opera

and

ballet,

which

he had so often

witnessed

from the

darkness

ot

the

auditorium.

Here

he

found

move-

ment

and

colour tor his brush. By placing

in the

foreground,

as

a

black

value

against a luminous ground,

the

scroll

ot

a

double

bass,

or

the

head and shouUlers of a violinist,

or

by

showing

in

perspective

at

the

top

ot

the

c;ui\as

only

the

legs

and

part of the

skirts of

the dancers,

he

aroused

in-

dignation,

but

he achieved

an extraordinary

refinement of

contrasts.

But soon

this picturesqueness no

longer

satisfied

him.

A

passion for

truth

possessed

him; he wanted

to get

to the bot-

tom

of

things.

And

then

it

was

that

he

discovered

the

human

values

of

back-stage lite.

It was

not

the

celebrated ami tCted stars that

held

his

attention, but the

poor little

girls ot the

corps

de

ballet,

the

unknown,

the

sorrowtul, the anonymous.

Girls

whose

sal-

aries were

pititul

tor

work

exceedingly

hard; ill-nourished

young bodies, from

which

an

excessive

muscular

effort

was

demanded.

Girls

who

were

elegant and graceful

as

long as the

master beat

time, but

who reverted to

weariness

and

vulgarity

as

soon

as the fiddles

had

ceased.

Degas

observed and listened. He made friends

w

ith these

little girls,

who were

more eager

to find, through

their

work,

a gentleman

friend than to

secure better roles. He noted

their

obscene or naive remarks, as

well

as

their wretched

personal linen;

their

cast-ofF

clothing

or worn sandals; their

heavily muscled

limbs and flat

or prematurely drooping

breasts.

In their

company he satisfied both his appetite

for

truth and his

mania

for movement. His

irony

took

on

a

keener

edge,

and

his

heart

was filled

with pity.

He

would

have

been

horrified at

the

idea of producing

literary paintings

—

slices

of

life

—

but he

was

a man,

secretly

good

and

infinitely

sensitive.

Later

Forain was

in

turn

to study

that

little world

and

to depict,

with mockery,

procuresses,

dressers,

wealthy

sub-

scribers

—

effrontery

and

vice.

Degas,

though

aware

of

these

things,

abstained

from satire. It is difficult

to find

in

his

pictures a

stage

manager

or author who

is

not

there

primarily

tor sombre

pictorial value.

Everything was

geometric,

plas-

tic

and eurythmic, and

born of that rigid

discipline was

a

series

of

masterpieces.

Sometimes

they consist of

compositions

painted in

the

morning

light

ot a

bare rehearsal

room,

harmonies in bluish

gray

or

beige, in

which

an

unbound

head

of

hair,

or

an

adorn-

ment of artificial flowers assumes,

amid

cold

tones,

a delect-

able

and

powerful

value.

We

experience

a

faint

recollection

of Vermeer

and

Watteau

through the quiet intimacy

and

the

supreme distinction of this

art.

And yet

the

painter does not

hesitate

to

reveal

the

vulgar ugliness of a

face,

coarse

laughter,

or

a

girl contorting her

body

to

scratch her

back. In

the

canvases

depicting actual performances,

however, the

miracle

of

transformation

has

taken place. The

harmony

of

gold,

pink,

jade

and

turquoise

carries

away, amidst

a

whirlwind of

light

and music, the recollection of

defects,

afflictions

a

banalities.

So

eager was

Degas to remain primarily

a painter

a

draughtsman,

that he not

only

refrained

from too great

stress

on satirical

intention,

but, with

a

few

exceptions,

fought

shy

of

descriptive titles, to

the ilismay

of those w

drew up

his catalogues.

Tlw Riipt', sometimes

given

the

more

iliscreet

title

of

Inft'rior,

is one

of

the exceptions,

when Degas,

against

principles, was

touched by drama.

Whether the

subject

w

an

episode

from a

novel,

or purely

imaginative,

we do n

know,

and it iloes not

matter. While

revealing

a stran

tenderness. Degas has raised

it to

the level

of

a

masterpie

by

the

perfection

of

his

technique.

Amidst

the poetic lig

and

shades of

the virginal

bed-chamber

of

a little

wcjrk

girl,

a

room

softly

lit by a

lamp

near

an embroiderer's

wor

basket,

we

find

ourselves

in

the

heavy

silence

following

brutal struggle,

a

silence broken

by the

sobbing of

the sem

nude

victim.

With

his back

to the

door

the man, once

mo

correct,

contemplates

her

despair. There

is

here a restrai

4

\

Wfat

PORTRAIT

OF

JOSEPH

TOURXY

Cincinnati

.Irt

Museum

1856

Etchi


12/56

REST

TIME

Private

Collection

c.

1893

Pastel

20

x

26y^'

pity and sadness which

contradicts the

general belief

in

the

artist's

insensibility.

Other artists

might

have

emphasized

this

scene

by

a

lascivious

disorder,

but Degas'

more subtle

sense of drama

counselled

him to

leave the little objects in

their

accustomed

places.

After

a few

abominable

moments

we

see nothing

amidst

these

now peaceful

surroundings save

a guilty

man

and

a

wretched

girl.

When devoting

himself

to

the

study

of

nudes

he

endeav-

ored,

even more than

in the

case

of the

dancing

girls,

to

seek

no

other

object than nudity

itself. Yet his

sensitive nature

could

not quite

escape the moral pressure

of

his time, the

pres-

sure

of naturalism

which

gruffly disrobeil

the

woman

whom

romanticism

had gently clothed. From

the

ballet

girls, with

their

familiar

defects,

he could

not pass to insipid models dis-

guised as

figures in classic

mythology.

He

sought his

subjects

away

from the

studio

platform,

in

their own dressing

rooms.

He knew

that

a

woman

shows

herself in

the

state

of nudity

only

to the

man she

loves,

or to

her

mirror.

Nudism in

the

open air was

unknown,

and

we

are

still

far from accepting

it.

But

in her

bathroom

a woman's nakedness has a believable

>aiso>i

d'etre.

Neither love

nor

its

illusions

imposed

upon his

visual

honesty,

which

took

account

of

marks

left

by

corsets

and lac-

ings,

the vulgarity

of flesh,

the ravages of

time.

Above all,

he

sought

the

various combinations of the

plastic figure,

the

unexpected

nature

of

movements where, screened

fr

all

eyes,

a

woman

furbishes her

bodv

as

if it

w-ere

weapon.

In this

passion

for honesty he

was

led to be

more

and

mo

daring,

almost

to the

point of oddity in

his

last big

paste

with

their jig-saw attitudes.

These

final works mark

a

retu

to

an

almost geometric

conception

of

form.

Solving n

problems

of draughtsmanship, perspective

and

colour,

revelled in associating flesh tones,

in

a subdued

lighting,

wi

objects

—

dressing

gowns,

porcelain,

glassware-

—

creating

wealth of

high-lights.

Here

he

succeeded

in achieving

complete coalescence

of

modelling,

value

and line,

so

that

h

figures

have the

density

of

bronze, and

at

the same

time a

penetrated and haloed by diffused

light.

This

series

of

nude

thanks

to

a

triple mastery

of mind,

eye and hand,

possess

a unique

value.

Degas

did

not

hesitate to enter

houses

of

prostitution

continue

his observations, but

in

that

sphere

he

produc

only

a few

satirical monotypes. In an

environment

whe

Toulouse-Lautrec was

to

disport himself

with bravado. Dega

was too

enamoured

of

art

in

the

abstract, and

too much

t

conservative

bourgeois, to be

drawn into

participation

social concepts.

Once more the

key to

the man

is found in

his

choice

subjects.

Society, with

its

artifice

and

convention, had

n


13/56

more

appeal tor him

than

commercial

vice.

The

working

man

did

not

attract him,

nor did

he go

to

the fields to seek

the

peasant

at

his plough. But

he

found movement

and

colour

and

character

nearer

home, in

his

laundresses.

The

manner in

which

they

apply weight

to

their irons,

the

tired

one

who

stops to

yawn in

our

faces,

the angle

at which

they

bend

to balance

their

large baskets,

all

present

the

problems

in

drawing

he

was

so

avid

to

solve.

The

bluish-white

of

starched

linen

is

a

fine

pretext

for

rare

and

subtle

harmonies.

Milliners,

too,

appealed

to

his

fancy and

gave

him

a

logical

excuse

to

present his

figures

behind

a

colourful

foreground

of

hats.

Whether

it

was

a question of a Greek

myth,

a

race-course,

a dancing girl or

a

nude, his method, his vision, and

his syn-

thesis were

unvarying. Above

all,

he

was

a

draughtsman,

limiting

himself

as a

painter

to

deep

colour scales

in

portrait-

ure,

sober ones

in landscape.

Polychromy

made but

a

weak

appeal

to

him.

He

considered

that

too

much

sacrifice

in the

pursuit of fugitive

effects

of sunlight

was an

error, and

that

the

atmosphere

had no

need

to

be

breathable.

In

the field

of engraving,

Degas

displayed a

curiosity

in the

technique

that led him to constant

experimentation.

His subjects

were

usually partial

replicas of

his

sketches

for

painting,

but in

the

ingenuity of

the

methods

employed

we

recognize

the

patient research

of

an

artist

determined

to

extract from

matter

everything

it

has

to

give.

When

he

was

about sixty

he did

a

magnificent

series

of

little evocations

of

nature

in water-colour,

oil

and

pastel,

without a single figure.

He

wrote

to

Durand-Ruel:

You

are right,

what

beautiful country.

We

take excur-

sions

every

day and

these

would

end by turning

me

into

a

landscape

painter,

if

my

wretched eyes did

not refuse

to

agree

to such a transformation.

I

am sorry

for

you

in

your

prison-

like

Paris,

yet

you

will

see

with what

serenity I am going to

return there.

And

to

Pissarro:

There

is

no

need

to

compliment

you

on

the artistic

qual-

ity of your

vegetable gardens. Only,

as

soon as you

feel

you

are

a little

more

used

to

things,

try something

bigger

and

more

complete.

He

had

a

few

friends

to

whom

he

remained

faithful all

his

life, dining with them

rarely,

and

only

upon

agreement

that

they abandon

all

ceremony.

I

shall

come, he said

to

Vollard,

at

seven-thirty;

no

flowers

on

the table,

please, and

lock

up

your cat, and

be

sure

no one

brings a dog.

If

there

are

ladies,

will

they

come

with-

out perfume?

What horrors, all those

odours

when

there

are

things which smell

so

good,

like

toast

. . .

and

very few

lights.

My

eyes,

my

poor

eyes

And calling

on

friends who

were

out he

left a note:

Monsieur Degas,

deeply moved,

presents his

New

Year

greetings to Monsieur

and Madame

Bartholome.

He

is

obliged to confess

that he does

not

possess

a

visiting-card

a

that,

when

he

finds

people are not

at

home,

he

writes

his

na

on

the margin

of

the

concierge's newspaper;

or an

envelo

is

handed

to

him.

His witty

remarks

gained for

him the

reputation

of

bei

bitter and

caustic, but they

were

usually inspired by

sham

pretentious

mediocrity.

Moreau's

predilection to

overload

his

academic

nud

with

precious stones

drew

from Degas,

despite

his

friendshi

the words:

He

adorns

the

Apollo

Belvedere with

a

watc

chain. And when

that same painter

affected

to

live in

mystic retreat.

Degas

said, He

is

a

hermit, but

well acquain

ed

with

the

time-table.

Of

Mcissonier's battle scenes

he

saitl, Kverything

is

ir

but

the cuirasses,

and

when

a

slovenly painter was decorat

with

the

I-t'gion

d'honneur

and went from cafe to cafe

showi

his red

ribbon,

Degas

exclaimed,

Well,

that's

one

more sta

on

his person.

A

picture

which

he

had sold

for 500 fran

fetched 400,000 at auction.

When

the reporters

came

ask

his impressions

he

said,

My

impressions

are those

of

horse

who,

having won the Grand

Prix,

receives

his

usual b

of

oats.

And

to

a young painter who was boasting

of h

material

success he said, In

my

time, Monsieur, we

did

n

get

on.

We

know

nothing of Degas'

relation to any particul

woman.

That

there was

one in his

youth

we

are

led

to

belie

by

some

poems of a

sentimental

nature.

It

is possible

th

this frustrated love-affair aggravated

his natural misanthrop

He

remained

on friendly

relations

with his family

and

h

many

acts of kindness to his

friends

were

so furtive

th

Forain,

Boldini, Mary

Cassatt

and

Zuloaga

have

careful

refrained

from

bearing

witness

to them.

He worked as

long

as

it was physically

possible, until

was

almost blind.

Then

he

turned

to

the use of

vivid

colou

and

to modeling.

He wandered about

the streets

of

his b

loved

Paris, the image of Homer. Toward

the

end

mone

was not

plentiful,

but his

wants

were

simple.

The war

1914

brought

him

to the verge of despair,

and on Septemb

26,

1917,

he

died, at

the

age of eighty-three.

We

have not

yet reached

the time

for

a complete evalu

tion

of Degas. All

we

know

is

that

his

singular

and

patie

genius was sustained

by the

gifts

of

one

of

the most

marv

lous draughtsmen

ever

known,

that

he

was dominated

alwa

by

a search

for

truth, and that

with all

his audacity,

he

r

mained

fundamentally

a

classicist.

As to the

man

himself,

one

cannot love him. He did

n

ask

to be

loved. He

was bitter, introspective, and

lone

with that

mighty

solitude

which

only the great artist,

stru

gling

alone

with

his

media,

knows.

No

one devoted himse

to the worship of

art

more fervently. His cult

for

it

ove

shadowed ambition,

honours, money

or

even human

re

tionships. Wc

cannot

help but admire him.


14/56

SUGGESTED READING

Anore,

a.: Degas,

Pastels

et

Dessins,

Paris,

Braun,

ô

nl.

1934.

Ai.KXANDRE,

A.:

Degas

graveur

et

lithoijraphe,

I.es Arts, No.

171,

1918.

Basi.er

et Klnstler:

I.a

neinture

indtpendante en

France, t.I,

de

Monet

a

Bonnard, Paris,

1929,

in-80.

Bazi.v, (j.: Degas

et

I'olijecfif, Amour

de

I'Art,

1931

;

Degas

sculp-

teur,

Amour

de I'Art,

1931.

Benedite,

I..:

La

peinture

tranâise, I'Art

et

les artistes,

1911;

I.a

reorganisation

du

I.uxemliourg,

Revue

encyclopediquc,

Aug.

2S,

1S97.

Bkkm

l)^,

H.: I.es graveurs

liu XIX' siecle,

1886,

vol.

5.

BiANHiK,

J.-F..:

Portrait

de

Degas, Formes,

Feb.

1931.

Barthol-

ome

et

Degas, Art vivant,

19JO.

Les

arts

plastiques

sous la

1

11*^

Repui>limie, Paris,

Kditions

de France,

1931.

Propos

de

peintres,

de

David

a

Degas,

Paris, F.miie

Paul,

1919.

Bru-o.\,

F..:

Psychologic d'art,

les Maitres

de

la

fin

du XIX siecle,

Paris,

1900.

Charles,

F..: Les

mots

de

Degas,

Renaissance

de

Part

fran(,ais,

April,

1918.

Chiai.iva: Comment

Degas

a

change

sa technique

du

dessin,

Bulletin

-Art I' ran9ais,

1932.

CoQiioT, (i.:

Degas,

Paris,

Ollendorf,

1924.

CoRTissoz,

R.:

Personalities

in

Art.

Davot,

a.:

F.dgar

Degas, La Revue Rhenane.

Delteii.,

L.:

Fdt;ar

Degas,

Le

Peintre-graveur

illustre, Paris,

1919.

DiRET,

T.

:

Critic|ue

d'avant-garde,

Paris,

Charpentier,

1885.

DuRAXTV: La

nouvelle peinture, Paris,

Dentu,

1876.

Faure,

F,.:

Histoire

de

I'Art,

L'.Art

moderne, Paris,

1926.

Feneon,

F*.:

Les

Impressionnistes

en 1886,

Paris, La

Vogue,

1886.

Fosca,

v.:

Delias,

Les

albums

d'art,

Druet, Paris,

1927.

Degas,

Paris,

Societe

des

Trente,

1921.

1 ierkns-Ge\aert:

Nouveaux essais

sur I'art contemporain,

Paris,

.Alcan,

1903.

Focii.i.oN,

H.:

La

peinture

au XIX*

ct

XX

siecle,

du

Realisme

a nos

jours,

Paris,

192S.

Gauhix,

a.: Degas,

utstrallringi,

national

museum

sal

fort

till-

fiilliga

utstliillningar,

23

Jan. 13

Feb., Stockholm,

1920.

Gefkko^',G.:

Deg.;s,

I'Art

et

les artists,

1908.

Histoire

de

I'impres-

sionnisme

(3rd

series of

La

We

Arristique,

Paris, Dentu,

1894.

Gi.ASER,

Curt:

Degas statuaire, Kunst und Kiinstler,

1922.

(lONCOURT,

F..

(de):

Memoires

de

la vie litteraire,

Paris,

Fasquelle,

9

vol.

Grapi'E,

G.:

Degas,

L'Art

et

le

Beau,

Paris,

191

1.

GuERix,

M.:

Remarques

sur

les

portraits

de

famille

peints

par

Degas, (Jazette

des

Beaux-Arts,

June,

1928.

Dix-neuf

portraits

de

Degas par

lui-meme, Paris, Marcel Guerin,

1931.

Note

sur les monotypes

de

Degas,

Amour

de

I'Art,

1924.

Lettres

de

Degas,

recueiilies et

annotees par Guerin,

preface

de

Daniel

Hali\

y,

Grasset,

1931.

Heri^,

H.: Degas,

Paris,

Alcan,

1920.

Degas, coloriste,

.Amour

de

r.Art,

1

904.

Hopi'E,

R.: Degas, Stockholm,

1922,

Fransk Konst.

HoiRru(.>,

L.:

F.dgar

Degas,

Art

et

Decoration,

Oct.

191

2.

Hivc.HE,

R.: Degas

ou la fiction realiste, Amour

de

I'Art,

1931.

IkvsMAXs,

J.-K.:

Certains

(critique

d'art),

Paris,

Librairie

Plon.

I.'art

moderne,

p.

249,

Librarie

Plon, Paris.

J

\MOT,

Pail:

F.ditions

de

la

Gazette des

Beaux-.Arts,

Paris,

1924.

La

peinture

en France,

Paris,

1934.

I ne salle

Degas

au Louvre,

Amour

de I'.Art,

1931.

Degas,

peintre d'assiettes. Gazette

des

Beaux-.Arts,

1924.

Jewell

&

Crane:

French

Impressionists

and their

contempo-

raries,

N.

Y., Hyperion

Press,

1944.

KLi.\f;soR,T.:

La

peinture

franâise

depuis

vingt

ans,

Rieder,

1921.

I.AFORr.LE,

J.:

(F'uvres

completes. III, IMelanges

posthumes,

Paris,

/53-

I.ECOMTE,

G.:

L'art impressionniste, Paris,

Chamerot et

Renouard,

1892,

La

crise

de

la peinture

franfaise,

L'.Art

et

les artistes,

1910.

I.AJOM),

P.:

Degas, Paris, Floury, 2 vol.,

1918-19.

Lierkrman.v,

Max: Degas,

Berlin,

1922,

Cassirer.

J.EMOisvE,

P.-A.:

Degas, I'Art

de

notre

temps,

Paris,

1912.

Degas,

Paris,

1913,

Librairie

Centrale

des

Beaux-.Arts.

Les statuettes

de Degas,

Art

et

Decoration,

191

9.

Les carnets

de

Degas

au

Cabinet

des Fstampes,

Gazette

des

Beaux-.Arts,

1921.

Le

por-

trait

de

Degas

par lui-meme,

Beaux-.Arts, Dec.

i,

1927.

Degas,

Rev.

dc

L'Art,

June

1924.

Lerov,

a.: Histoire

de

la

peinture franâise

(i

800-1933),

evolution

et ses maitres,

Paris,

1934.

MacColi.,

D.:

Nineteenth Century

Art, Glasgow,

1902.

Ma.vso.v,

J.

B.:

The Life

and Work

of

F.dgar

Degas,

London,

19

The

Studio,

Ltd.

Marcel,

H.:

La peinture

franâise

au XIX^ siecle,

Paris,

1905

Mauclair,

C:

L'Impressionnisme, son

histoire,

son

esthetiq

ses maitres, Paris,

Librairie

de I'.Art ancien

et moderne,

19

Les

Maitres

de

I'lmpressionnisme,

Paris,

Olleniiorff,

19

Degas, Hyperion

Press, Paris,

1936.

Rev.

de

I'.Art ancien

moderne,

1903.

Meier-Graefe,

J.:

Degas, London,

1923.

Ernest Benn,

L

Trans, by

J.

Holroyd-Reece.

Der

Moderne

Impressionism

Berlin, I9O4.

Meli.erio,

a.:

L'n

album

de

reproductions

d'apres

les

dessins

M.

Degas,

I'Fstampe

et

I'Affiche,

1898.

Degas, Revue

Art

tique, April,

189^1.

MoNCAx,

A.:

Degas

master observer:

seen

at

Philadelphia,

T

Art News,

1936.

MuTHER,

R.: Historv of Modern Painting,

London,

4

vols.

19

J.

M.

Dent

ik

Co.

Moreal-Nelaton,

E.: Deux heures

avec

Degas,

interview po

hume. Amour

de

I'.Art,

193

1.

Moore, George: Modern Painting,

London,

1893.

Confessi

d'un

jeune

Anglais,

Paris,

Stock,

I92


15/56

PORTRAIT

OF

MADKMOISF.LLE

DOBIGW

Kmisthalle,

Hamburg

18r,9

Panel

14

'

,

x 12

«

,,'


16/56


17/56

OIL

SKETCH FOR

YOISG

SP^RTASS

EXERCISISC

c. I860

S'/'

x

11

The Eo^%

Museum

of

Art,

Harvard University


18/56


19/56

THE

MORNING BATH

c.

1883

Pastel

on paper

273/'

x

17

The

.Irt

histitttte

of

Chicago

,

Potter

Palmer

Collection


20/56

I

ITER

rill-:

H.rrii

Oil

46'./'

X

381^'

Ambro'ise

I

'olhirtL Paris


21/56TWO

IROXERS

Paris

1882

Oil

32

X 28


22/56

THE DUKE

^ND

DUCHESS

OF

MORBILLI

1855-56

Oil

45

>^

x

35

National

Gallery

of

Art,

IVashington, D. C,

Chester Dale

Collection

{Loan)


23/56TH'O

SISTERS

c.

1867-68

Oil

40

x

32

Photo,

Courtesy

of

Paul

Rosetil/er^

cs*

Co.,

New

York


24/56

./r r//K

RJCES

(CENTLEMEy RIDERS)

1877-1880 Oil

26H

x

32'

T/ir

/.outre

Mttseum, Paris


25/56

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OF

Dll.Ci)

MJRIEI.I.I

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/'VCs

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26/56

DEG/IS'

FATHER

LISTENING

TO

PAGANS

c.

1872

Oil

31>i x24K

Colleclion

John

T.

Spanltiin^, Hosloii


27/56C.iFE

COXCERT c.

1875-76

Pastel

14 »/'

x

IQi

•/'

Lyons Museum, France


28/56

THE

BALLET

Pastel

12^5i xlO

The

Corcoran Gallery

of

.Irt^

U'ashi>iglon,

D. C.


29/56BALLET SCESE

1878 Oil

10^

x

8)4'


30/56

// (J.\Li\

II

/

77/

CIIR y

\S\/\T//EA/

i MS

1865

Oil

29 x36^

T/ie

Meh-opolitau

Museum

of

Art,

Xctv

York


31/56M.iKY

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.rr

THE

LOLl'RE

c.

1877 J^istel

27)

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x

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32/56

-^•CiH^.g,.,

1

'

.

//

y

1

P'

Left

to

right:

Drawings, court

of

Carroll

Carstairs.

New

Yor

City Art Museum

of

St.

Loui

The

Art

Institute

of

Chica

Phillips

Memorial

Galler

Washington,

D.

C;

Natio

Gallery

of

Canada, Otta

Paul

Rosenberg &

Co.,

N

York,

City

Art

Museum

St.

Louis.


33/56

DJNCfXC

GIRLS

IX

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Dr.

Albert

C.harpt'ntin\ Paris

c.

1S9()

Oil

32

X

28


34/56

PORTR.IIT OF y^MES

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c.

1868 Oil

595/^

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44

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35/56

AFTER

THE

lUTH

1885 Pastel

26H x20K

Private

Collection,

U.

S.

A.


36/56

THE

MII.I.ISERY

SHOP

c.

1882

Oil

39 x43J4

Tilt'

.ht

Institute

oj Chicago,

Mr. and

Mrs.

I.. I..

Cnburu

Collection


37/56


38/56

PORTRAIT

OF DEC.

IS

AXD HIS FRIEND

VALERNE

The Louvre

Museum^

Paris

1868

Oil

46H x35


39/56

H.n.F-LESGTH

STUDY

OF

IX'/\C/.\(;

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Art

1899

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40/56


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43/56

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New

York

BALLF.T

M.1STER

Drawing

Collection

Henry

/'.

McHhenny,

Philadelphia


44/56

POUriXG

1875-76

Oil

12M xl8i.t

The Metropolilau

Museum

of

Art, New York


45/56


46/56

UNCLE

^ND

NIECE

.

i862

Oi

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,7;7 lustitute

of

Chicago,

Mr.

and

Mrs. I..

/„

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3814

X

45

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47/56

MLLE.

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VALPINCOS

Oil

28

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IFildensteiu

^

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New

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PORTR.

II

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x

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caniboard

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Dumharloii

Otiks

Research

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ami Coilecliotty

Harvard

University (Mr. and

Mrs.

Robert

Woods

Bliss

Collectio


48/56

D.^SCIXC.

CARL

I'lLISKlXC,

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Al'DlEXCE

The

Louvre

Museum^

Paris

1877

Pastel ^O'/'xSO^


49/56


50/56

If'OM

/IN

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20

x

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Hermafi Shulman,

Stamford^ Conn.


51/56PORTRAIT

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1879 Oil

30'./'x46>^'

Jacques

Seligmanfi, Paris


52/56

T

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Courtesy

of

Dnrmid-Rtiel^

New

York

Pastel

2814

X

235^


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ROUAUL

by

EDWARD

ALDEN

I

he work of

one

of

the

most

ligurc-s t)f

modern

art

is

put^li

new

edition

that captures

t

vehemence

of his

unusual

pal

H

reproductions

in

full c

Hi

repr«)ductions

in

black

M

X

14

. . .

S3.00

RODIN

by

PHILIP

R.

ADA

Rodin's

fame is

as great

in

hi

as it is throughout

the world.

tion of

his

most

famous

and

work

is

presented in

this

vol

16

two-tone plates

Wate

40 reproductions

Sculff

M X

\\

. . .

S3.00

Published

in

this se

RENOIR

by

ROSAMUND

F

Pierre Auguste Renoir

is one

most modern

old masters.

He

mated

a

quarter

century after

8

reproductions

in

full

co

48 black and

white

half-to

II X

1-i

. . .

S3.()()

MARY

CASS

by

MARGARET

BRE

Mary

Cassatt,

only

recently

one of our

most

accomplishe

sents

the

anomaly

of

being

a

th

ican.

although

she acquired h

st)le in

Paris

under

French

i

8

reproductions in full

col

48

black

and

white half-to

M

X

14

.

. . S3.(H)

CEZANN

by

EDWARD

ALDEN

Modernism's

debt

to

Paul

Cez

mous and

many-faceted.

He

is

the

father

of

Modern

Art.'

8

reproductions

in

full

col

48

black

and

white

half-ton

11

X

14

.

.

. S3.00

PiihUshed by

THE

HYPERION

PRES

Distrihtdted

by

DUELL,

SLOAN

&

PEAR

NF>X'

YORK


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