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Edgar Degas
Essence (diluted oil paint) on prepared green paperboard
In the 1870s Degas spent much of his time backstage at the Paris Opera observing dancers behind-the-scenes, in rehearsals, the classroom or, like the dancer here, in an offbeat moment of fatigue and relaxation. A consummate draughtsman, Degas seizes the dancer’s pose, isolating the figure on a sheet of startling green paper. Always a great experimenter, Degas loved these coloured papers that are a distinctive feature of some of his drawings of this date.*
From the exhibition
Impressionists on Paper: Degas to Toulouse-Lautrec
(November 2023 - March 2024)
Degas, Cézanne, Morisot, Van Gogh. You might recognise their paintings, but it’s their radical works on paper we put the spotlight on in this ground-breaking exhibition.
In the whirl of modernity that was late 19th-century France, Impressionist and Post-Impressionist artists radically transformed the future direction of art. But it wasn’t just through their paintings. In a subtle but seismic shift, they lifted the status of works on paper – drawings, pastels, watercolours, temperas, gouaches – from something preparatory that you left in a studio, to artworks in their own right.
In this rich exhibition, we bring together 77 works on paper by leading Impressionist and Post-Impressionist artists whose innovation would challenge traditional attitudes and ultimately pave the way for later movements like Abstract Expressionism...
...The enduring popularity of Impressionist and Post-Impressionist art is mainly due to the celebrated paintings by artists such as Claude Monet, Edgar Degas, Vincent van Gogh and Paul Cézanne. Drawings, pastels, watercolours, temperas and gouaches by these artists have historically received less attention. The examples in this exhibition, gathered from collections across Britain and Europe, reveal how Impressionist and Post-Impressionist works on paper are as significant as paintings.
Since its foundation in 1648, the Académie Royale de Peinture et de Sculpture had exerted official control over artistic practices and standards in France, as well as determining what subjects should be depicted.
Despite reforms, by the nineteenth century the Académie’s authority was being challenged by artists. The emphasis previously placed on drawing for the purposes of training or solely as part of the preparatory process for finished work was regarded as far too restrictive.
Avant-garde artists such as the Impressionists saw that works on paper had a wider potential, especially given their preference for contemporary subject matter and their aesthetic principles based on light and colour. Although they did not totally renounce working in their studios or using models, these artists increasingly sought inspiration directly from nature, modern life and the careful observation of individuals. Furthermore, they readily adopted new approaches including the selection and use of media, supports, techniques and formats.
This greater freedom encouraged the Impressionists and Post-Impressionists to make independent works on paper for exhibition or sale. This was how, by the end of the nineteenth century, drawing achieved parity with painting and played an important role in the developments of modern art.
[*Royal Academy]
Taken in the Royal Academy
Edgar Degas
Essence (diluted oil paint) on prepared green paperboard
In the 1870s Degas spent much of his time backstage at the Paris Opera observing dancers behind-the-scenes, in rehearsals, the classroom or, like the dancer here, in an offbeat moment of fatigue and relaxation. A consummate draughtsman, Degas seizes the dancer’s pose, isolating the figure on a sheet of startling green paper. Always a great experimenter, Degas loved these coloured papers that are a distinctive feature of some of his drawings of this date.*
From the exhibition
Impressionists on Paper: Degas to Toulouse-Lautrec
(November 2023 - March 2024)
Degas, Cézanne, Morisot, Van Gogh. You might recognise their paintings, but it’s their radical works on paper we put the spotlight on in this ground-breaking exhibition.
In the whirl of modernity that was late 19th-century France, Impressionist and Post-Impressionist artists radically transformed the future direction of art. But it wasn’t just through their paintings. In a subtle but seismic shift, they lifted the status of works on paper – drawings, pastels, watercolours, temperas, gouaches – from something preparatory that you left in a studio, to artworks in their own right.
In this rich exhibition, we bring together 77 works on paper by leading Impressionist and Post-Impressionist artists whose innovation would challenge traditional attitudes and ultimately pave the way for later movements like Abstract Expressionism...
...The enduring popularity of Impressionist and Post-Impressionist art is mainly due to the celebrated paintings by artists such as Claude Monet, Edgar Degas, Vincent van Gogh and Paul Cézanne. Drawings, pastels, watercolours, temperas and gouaches by these artists have historically received less attention. The examples in this exhibition, gathered from collections across Britain and Europe, reveal how Impressionist and Post-Impressionist works on paper are as significant as paintings.
Since its foundation in 1648, the Académie Royale de Peinture et de Sculpture had exerted official control over artistic practices and standards in France, as well as determining what subjects should be depicted.
Despite reforms, by the nineteenth century the Académie’s authority was being challenged by artists. The emphasis previously placed on drawing for the purposes of training or solely as part of the preparatory process for finished work was regarded as far too restrictive.
Avant-garde artists such as the Impressionists saw that works on paper had a wider potential, especially given their preference for contemporary subject matter and their aesthetic principles based on light and colour. Although they did not totally renounce working in their studios or using models, these artists increasingly sought inspiration directly from nature, modern life and the careful observation of individuals. Furthermore, they readily adopted new approaches including the selection and use of media, supports, techniques and formats.
This greater freedom encouraged the Impressionists and Post-Impressionists to make independent works on paper for exhibition or sale. This was how, by the end of the nineteenth century, drawing achieved parity with painting and played an important role in the developments of modern art.
[*Royal Academy]
Taken in the Royal Academy
Edgar Degas
Pastel and graphite over monotype in black ink on paper
This is one of a series of monotypes heightened with pencil and pastel that Edgar Degas made to illustrate a series of satirical short stories, La Famille Cardinal, written by his friend the writer and librettist Ludovic Halévy. They chronicle the adventures of two young dancers backstage at the Paris Opera, their admirers, and their ambitious mother, Madame Cardinal. In this scene the narrator seeks out Madame Cardinal in a dressing room.*
From the exhibition
Impressionists on Paper: Degas to Toulouse-Lautrec
(November 2023 - March 2024)
Degas, Cézanne, Morisot, Van Gogh. You might recognise their paintings, but it’s their radical works on paper we put the spotlight on in this ground-breaking exhibition.
In the whirl of modernity that was late 19th-century France, Impressionist and Post-Impressionist artists radically transformed the future direction of art. But it wasn’t just through their paintings. In a subtle but seismic shift, they lifted the status of works on paper – drawings, pastels, watercolours, temperas, gouaches – from something preparatory that you left in a studio, to artworks in their own right.
In this rich exhibition, we bring together 77 works on paper by leading Impressionist and Post-Impressionist artists whose innovation would challenge traditional attitudes and ultimately pave the way for later movements like Abstract Expressionism...
...The enduring popularity of Impressionist and Post-Impressionist art is mainly due to the celebrated paintings by artists such as Claude Monet, Edgar Degas, Vincent van Gogh and Paul Cézanne. Drawings, pastels, watercolours, temperas and gouaches by these artists have historically received less attention. The examples in this exhibition, gathered from collections across Britain and Europe, reveal how Impressionist and Post-Impressionist works on paper are as significant as paintings.
Since its foundation in 1648, the Académie Royale de Peinture et de Sculpture had exerted official control over artistic practices and standards in France, as well as determining what subjects should be depicted.
Despite reforms, by the nineteenth century the Académie’s authority was being challenged by artists. The emphasis previously placed on drawing for the purposes of training or solely as part of the preparatory process for finished work was regarded as far too restrictive.
Avant-garde artists such as the Impressionists saw that works on paper had a wider potential, especially given their preference for contemporary subject matter and their aesthetic principles based on light and colour. Although they did not totally renounce working in their studios or using models, these artists increasingly sought inspiration directly from nature, modern life and the careful observation of individuals. Furthermore, they readily adopted new approaches including the selection and use of media, supports, techniques and formats.
This greater freedom encouraged the Impressionists and Post-Impressionists to make independent works on paper for exhibition or sale. This was how, by the end of the nineteenth century, drawing achieved parity with painting and played an important role in the developments of modern art.
[*Royal Academy]
Taken in the Royal Academy
Paris Opera Bastille. Spence and I enjoyed pre opera snacks and drinks in the concourse of the Opera.
Edgar Degas
Essence (diluted oil paint) on prepared green paperboard
In the 1870s Degas spent much of his time backstage at the Paris Opera observing dancers behind-the-scenes, in rehearsals, the classroom or, like the dancer here, in an offbeat moment of fatigue and relaxation. A consummate draughtsman, Degas seizes the dancer’s pose, isolating the figure on a sheet of startling green paper. Always a great experimenter, Degas loved these coloured papers that are a distinctive feature of some of his drawings of this date.*
From the exhibition
Impressionists on Paper: Degas to Toulouse-Lautrec
(November 2023 - March 2024)
Degas, Cézanne, Morisot, Van Gogh. You might recognise their paintings, but it’s their radical works on paper we put the spotlight on in this ground-breaking exhibition.
In the whirl of modernity that was late 19th-century France, Impressionist and Post-Impressionist artists radically transformed the future direction of art. But it wasn’t just through their paintings. In a subtle but seismic shift, they lifted the status of works on paper – drawings, pastels, watercolours, temperas, gouaches – from something preparatory that you left in a studio, to artworks in their own right.
In this rich exhibition, we bring together 77 works on paper by leading Impressionist and Post-Impressionist artists whose innovation would challenge traditional attitudes and ultimately pave the way for later movements like Abstract Expressionism...
...The enduring popularity of Impressionist and Post-Impressionist art is mainly due to the celebrated paintings by artists such as Claude Monet, Edgar Degas, Vincent van Gogh and Paul Cézanne. Drawings, pastels, watercolours, temperas and gouaches by these artists have historically received less attention. The examples in this exhibition, gathered from collections across Britain and Europe, reveal how Impressionist and Post-Impressionist works on paper are as significant as paintings.
Since its foundation in 1648, the Académie Royale de Peinture et de Sculpture had exerted official control over artistic practices and standards in France, as well as determining what subjects should be depicted.
Despite reforms, by the nineteenth century the Académie’s authority was being challenged by artists. The emphasis previously placed on drawing for the purposes of training or solely as part of the preparatory process for finished work was regarded as far too restrictive.
Avant-garde artists such as the Impressionists saw that works on paper had a wider potential, especially given their preference for contemporary subject matter and their aesthetic principles based on light and colour. Although they did not totally renounce working in their studios or using models, these artists increasingly sought inspiration directly from nature, modern life and the careful observation of individuals. Furthermore, they readily adopted new approaches including the selection and use of media, supports, techniques and formats.
This greater freedom encouraged the Impressionists and Post-Impressionists to make independent works on paper for exhibition or sale. This was how, by the end of the nineteenth century, drawing achieved parity with painting and played an important role in the developments of modern art.
[*Royal Academy]
Taken in the Royal Academy
Day 9 - Shearings Annecy and the French Alps 2011 - Paris Academie National du Musique - Paris Opera
the lobby at intermission. didn't take pictures of the grand foyer because my camera was buried in my bag :\
Day 9 - Shearings Annecy and the French Alps 2011 - Paris Academie National du Musique - Paris Opera
Day 9 - Shearings Annecy and the French Alps 2011 - Paris Academie National du Musique - Paris Opera