The exhibition Degas: Form, Movement and the Antique at the Tampa Museum of art consist of 47 pieces from the French impressionist’s Edgar Degas life. The exhibition focuses on Degas fascination with motion, and shape and his influences from Greek and Roman art. It consists of oil paintings, charcoal and pastel drawings, and bronze replicas of his works. Most of the pieces are inspired by horses, ballerinas and everyday women. He traditionally used line, color and texture in his paintings to convey the poise and grace of the figures. He also used asymmetry, imbalance and dramatic angles to give the dancers a more naturalistic feeling. In his sculptures he typically used shape and space to simulate movement, and used form to capture the rhythm and beauty of dance. Much of his work is expressive, he utilities bright dramatic colors and quick gestural brush strokes in his artwork to convey the elegance and spontaneity of movement.
The exhibition begins with pieces of Greek and roman art from The Tampa Museum of Art’s personal collection. These are meant to show the influence of Greek and Roman art on Degas and features and vases and statues that compliment Degas work. It the features pieces centering on Degas love of horses and his fascination with their movement. The exhibition then focuses on Degas dancers, which he spent much of his life creating and then focuses on his pieces based of everyday women bathing. The exhibition is laid out beautiful the walls are dark red and white walls which compliment degas works, the statues are in the middle of the museum giving it spacious feeling adding to it the illusion of movement given by the ballerina.
The first statues I saw when I walked into the museum were Rearing Horse, Thoroughb...
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...rays to outline the women’s figure. I like this drawing because it has a loose quality to it, like a gesture drawing, or something created on a whim. He captures the spontaneity of the women’s movement and her harsh facial expression giving the drawing a distinct feeling of calmness and concentration.
The exhibition Degas: Form, Movement and the Antique gave me a unique chance to see the works of a revolutionary artist. My overall impression of the exhibit was that it gave me with a new way to think the expression of movement in art. In what I have seen each piece shows Degas and his passion for conveying motion, capturing a moment in time and showing the beauty of it. Almost all of his pieces have a sketch like quality to them which allows them to feel loose, spontaneous, and natural. By doing this he allowed his three dimensional statues to feel like drawings.
I was captivated by the art piece created by Francisco de Goya y Lucientes in 1810-
Spending time looking at art is a way of trying to get into an artists’ mind and understand what he is trying to tell you through his work. The feeling is rewarding in two distinctive ways; one notices the differences in the style of painting and the common features that dominate the art world. When comparing the two paintings, The Kneeling Woman by Fernand Leger and Two Women on a Wharf by Willem de Kooning, one can see the similarities and differences in the subjects of the paintings, the use of colors, and the layout
Corresponding to Interior with Two People, Degas’ family portrait, The Belleli Family, of his aunt Laura and her family is a painting about “the contradictions riddling the general idea of the high bourgeois family in the middle of the nineteenth century.” 6,7 The painting is considered a representation of “The ...
Degas showcased figure 1 as its “two –thirds life-size.” All of the materials used in figure 1 are made with real objects, dressed in appropriate ballerina clothing from the ballet slippers, tutu, to the satin ribbon and the real hair wig all covered with wax. Next, context is focused mainly on when Degas created The Little Fourteen-Year-Old Dancer. The sculpture was created in 1880 and later casted in 1922. The purpose of Degas ballerina was to show movement, along with human form. The style of Degas artwork is characterized by the motion of a ballerina, and the certain poses Degas mimics within his sketches along with his sculpture
Edgar Degas’ mind was unique and creative, producing some of the most famous works of the Impressionist period. Although his works were incredibly beautiful and had what could have been positive subject matter, his works often appear eerie and mysterious. This is due to Degas’ inner thoughts and feelings. Beginning with his mother’s death at age 13, Degas never became attached to a woman during his lifetime. This caused him to not only feel aggressive toward women, but also that he could look down upon them and his inferiors. Conflicting thoughts of aggression and admiration filled the mind of Degas, and is seen throughout his body of works. His work appears the way it does to the viewer due to Degas’ inner thoughts, which were not always positive. This allows his works to differ from other artists of the period.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
This group ran their own exhibition, and over time, became some of the famous names we know today, such as: Claude Monet, Edgar Degas, and Alfred Sisley. However, it was not all fame and fortune from the beginning. Most patrons who came to the exhibition were so used to the classic, disciplined style that they often criticized the artists’ works, calling them “unfinished” and offended that they could showcase “sketches” as finished pieces. But this is exactly what these artists embraced; letting go of formality and embracing the “freedom of technique” (“Impressionism”,
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
The Italian Macchiaioli movement bore a striking resemblance to Impressionism. Artists employed macchie—quick, broad strokes—in their art. They blended light and shadow and, like the Impressionists, disobeyed many of the “rules” of art in the process. Telemaco Signorini, a notable artist in the movement, used these styles to achieve remarkable effects, and he too left quite an impression on Degas, who would later imitate Signorini’s styles in his own work.
Subsequently, as Degas was playing with the concept of the identity and his representations of a young female ballerina. Many of Degas’s ballerina sculpture artworks were explored by the study of ballet figures at the Opéra. As he first studied and did countless sketches of Marie van Goethem, where he later created a wax figure of her in a ballet pose. Degas’s The Little Fourteen-Year-Old Dancer, (Figure 1) immediately calls to mind Preziosi’s book, which calls out the “draughtsmanship” to maintain what he later refers to in what makes art history important. Although Preziosi doesn’t express his feeling about sculpture artworks, he does address the “manner then attained to the greatest beauty from the practice which a rose of constantly
subject’s action. Many works of his time period were sculptures that were meant to be
Claude Monet is often accredited as the leading member of the Impressionist movement. His work in Impression, Sunrise is the painting that gave birth to the movement. Here we can perceive Monet’s use of a limited palette: muddy blues and gray establish a somewhat somber mood – contrasted by a bright orange, representing the sun at dusk. Seizing the viewer’s attention is a figure in a boat, an effect the artist has achieved by painting the background boats a lighter, blurrier gray. Not only is this technique executed in this painting, but on a vast majority of Monet’s work. However, Monet’s Water Lilies series could serve as a counterclaim to such statement, as they fail so focus on a single subject, instead blurring everything on the canvas. Edgar Degas exceeds beyond Bardo’s definition of Impressionism. Though his seamless use of perspective and focus on subjects appear a good fit to the Impressionist movement, Degas referred to himself as a Realist or Independent artist. Indeed, he did share a preference for depicting the middle class – emphasizing figures, lights, and shadows – rejecting the Impressionist color theory.
In addition to these two works, Degas seemed to be particularly interested in the subject of ballet across many of his other works as well. He focused on elements such as its elegant scenery, costumes, and movements made by the dancers themselves. He was fascinated by the spontaneity of the performance and yet the amount of restraint that must be exercised by its participants at the same time. More often than not, Degas chose to recreate the ballerinas who were off guard. For example he chose to depicting them as they stood backstage in an ...
“Edgar Degas seems never to have reconciled himself to the label of “Impressionist,” preferring to call himself a “Realist” or “Independent”” (Schenkel 2000). The Interior is from realism period because of it 's style and accuracy of objects
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...