LEADER 07243nam 2200697 a 450 001 9910954996503321 005 20241207110037.0 010 $a9781781605974 010 $a1781605971 010 $a9781780427454 010 $a178042745X 010 $a9781283958967 010 $a1283958961 010 $a9781783102860 010 $a1783102861 035 $a(CKB)2560000000332887 035 $a(EBL)4084898 035 $a(Au-PeEL)EBL4357175 035 $a(CaPaEBR)ebr11168512 035 $a(CaONFJC)MIL427146 035 $a(OCoLC)781954722 035 $a(MiAaPQ)EBC4357175 035 $a(MiAaPQ)EBC886889 035 $a(PPN)197279481 035 $a(ODN)ODN0001070429 035 $a(FR-PaCSA)88835807 035 $a(FRCYB88835807)88835807 035 $a(MiAaPQ)EBC6006698 035 $a(Au-PeEL)EBL6006698 035 $a(OCoLC)968112281 035 $a(EXLCZ)992560000000332887 100 $a20120328d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aEdgar Degas /$fNatalia Brodskaia, Edgar Degas 205 $a1st ed. 210 $aNew York $cParkstone International$d[2012] 215 $a1 online resource (200 pages) 225 0 $aBest of. 300 $aIncludes index. 311 08$a1-906981-38-8 311 08$a1-84484-019-0 320 $aIncludes bibliographical references and index. 327 $aIntro -- 1. Self-Portrait, ca. 1863. -- 2. Edgar Degas, ca. 1855/60. -- 3. Monsieur and Madame Edmondo Morbilli, ca. 1865. -- 4. The Bellelli Family, 1858/67. -- 5. Place de la Concorde (Comte Lepic with his daughters), 1876. -- 6. Pouting, ca. 1869/71. -- 7. The Ironer, ca. 1880. -- 8. Interior, ca. 1868/69. -- 9. Scene of War in the Middle Ages or The Misfortunes of the Town of Orle?ans, 1865. -- 10. Half-nude Woman, Lying on her Back, 1865. -- 11. Young Spartan Girls Challenging the Boys, ca. 1860-62. -- 12. Young Spartan Girl, ca. 1860. -- 13. At the Races, Gentlemen Jockeys, ca. 1876/77.; 14. Ballet (The Star), 1879-81. -- 15. The Rehearsal on Stage, 1874 . -- 16. Blue Dancers, ca. 1893. -- 17. Mademoiselle Lala at the Cirque Fernando, 1879. -- 18. Orchestral Musicians. -- 19. Dancers in the Wings, 1878-80. -- 20. At the Milliner's, ca. 1882-86. -- 21. In a Cafe?, also called The Absinthe, 1875/76. -- 22. Portrait of Mademoiselle Euge?nie Fiocre on the Occasion of the Ballet ""The Source"", 1867/68. -- 23. Waiting, ca. 1882. -- 24. Dancer Greeting with a Bunch of Flowers, ca. 1877. -- 25. In the Salon, ca. 1876/77. -- 26. Repose, ca. 1876/77.; 27. Mister Perrot's Dance Lesson, 1873-1875. -- 28. The Procuress, ca. 1876/77. -- 29. Madame's Name-Day, 1876/77. -- 30. At the Theatre, ca. 1880. -- 31. Repose on the Bed, ca. 1876/77. -- 32. ""C'e?tait le marquis Cavalcanti qui se retournait le plus souvent"", 1880. -- 33. Pauline and Virginie Talking to Admirers, 1880. -- 34. In the ""Cafe? des Ambassadeurs"", 1885. -- 35. Concert in the ""Cafe? des Ambassadeurs"", ca. 1876. -- 36. The Song of the Dog, ca. 1876/77. -- 37. Singer with a Glove, ca. 1878. -- 38. The Bath, ca. 1880. -- 39. Two Women (Scene in a Brothel), ca. 1879-80 or 1876/77.; 40. Woman Drying Herself, ca. 1894. -- 41. After the Bath, 1890-93 (dated 1885 by a later hand). -- 42. The Tub, 1885/86. -- 43. Woman with a towel, 1898. -- 44. Woman Washing Herself, ca. 1894. -- 45. Naked Woman Drying her Foot, 1885/86. -- 46. The Bath: Woman Washing Herself, ca. 1887. -- 47. Woman Leaving her Bath, ca. 1877. -- 48. The Morning Bath (The Baker's Wife), 1885-86. -- 49. The Tub, ca. 1880. -- 50. Nude Woman Scratching Herself, 1879-83. -- 51. Women Combing their Hair, ca. 1875-76. -- 52. Nude Woman Combing her Hair, ca. 1879-85. -- 53. Nude Woman Combing her Hair, ca. 1886-88.; 54. The Morning Bath, ca. 1895. -- 55. Behind the Stage, ca. 1898. -- 56. Pas de deux, ca. 1877-1878. -- 57. Woman in front of a Mirror, ca. 1877. -- 58. Two Dancers, ca. 1895. -- 59. Grande Arabesque, ca. 1892-1896. -- 60. Woman Seated in an Armchair, Drying her Left Axilla, ca. 1900-1905. -- 61. Little Dancer Aged Fourteen, ca. 1879-1880. -- Biography -- 62. Little Dancer Aged Fourteen, ca. 1879-1880. -- 63. Woman washing her left leg, ca. 1900-1903. -- 64. The Masseuse (group), ca. 1900-1903. 330 $aDegas was closest to Renoir in the impressionist's circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre's studio; most likely he first met the future impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous painter's memory retained the particularities of movement of horses wherever he saw them. After his first rather complex compositions depicting racecourses, Degas learned the art of translating the nobility and elegance of horses, their nervous movements, and the formal beauty of their musculature. Around the middle of the 1860s Degas made yet another discovery. In 1866 he painted his first composition with ballet as a subject, Mademoiselle Fiocre dans le ballet de la Source (Mademoiselle Fiocre in the Ballet 'The Spring') (New York, Brooklyn Museum). Degas had always been a devotee of the theatre, but from now on it would become more and more the focus of his art. Degas' first painting devoted solely to the ballet was Le Foyer de la danse à l'Opéra de la rue Le Peletier (The Dancing Anteroom at the Opera on Rue Le Peletier) (Paris, Musée d'Orsay). In a carefully constructed composition, with groups of figures balancing one another to the left and the right, each ballet dancer is involved in her own activity, each one is moving in a separate manner from the others. Extended observation and an immense number of sketches were essential to executing such a task. This is why Degas moved from the theatre on to the rehearsal halls, where the dancers practised and took their lessons. This was how Degas arrived at the second sphere of that immediate, everyday life that was to interest him. The ballet would remain his passion until the end of his days. 606 $aPainters$zFrance$vBiography 615 0$aPainters 676 $a759.4 686 $aART016030$2bisacsh 700 $aBrodskaia$b N. V$g(Natalia Valentinovna)$0863734 701 $aDegas$b Edgar$f1834-1917.$0212721 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910954996503321 996 $aEdgar Degas$94337871 997 $aUNINA