Edgar Degas Posters, Prints, Fine Art

Dancers Resting Art Print

Orchestra at Opera

Four Ballerinas on Stage Stretched Canvas

Ballet Class Art Print

Race Horses Giclee

Ballet Rehearsal Giclee Print

Dancer with a Tambourine

Ecole de Danse Art Print

Ballerina Giclee Print

Tub Art Print

Woman Combing Her Hair

Before Ballet Art Print

Self Portrait Giclee Print

Self Portrait Giclee Print

Degas in a Green Waistcoat

Degas had been born in Paris, France, the oldest of five children of Celestine Musson De Gas while his father was Augustin De Gas, a banker. The family was reasonably affluent. By age eleven, Degas started his education with registration into the Lycee Louis-le-Grand, graduating during 1853 with a baccalaureate of literature. When he had been a young man, Edgar gave up the more lofty spelling of his surname.

Degas started to paint in earnest young in life. By the age of 18 he had converted a room in his house to an painter's studio, and started creating replicates in the Louvre, however his father expected him to attend law school. Degas duly enrolled in the Faculty of Law of the University in Paris during 1853, although made only a small attempt with his lessons. During 1855, Degas encountered renowned academic artist Jean Auguste Dominique Ingres, who Degas greatly admired, and Ingres suggested that he "draw lines, young man, many lines." During April of that year, Degas gained admission to the Ecole des Beaux-Arts, a place he learned draughtsmanship under Louis Lamothe, whose counseling assisted the young artist to improve his technique after the manner of Ingres. During July 1856, Degas visited Italy where he would stay for three years.

While in Italy he sketched and painted replicates of artworks by Michelangelo, Raphael, Titian, and great painters of the Renaissance era. Frequently Degas would take single head from an art work and create a portrait. At this time Degas learned the techniques and and developed a skill in the methods of high academic classical painting.

Degas Self Portrait

Woman Drying Herself Giclee Print

In Theatre Giclee Print

Portrait of Eugene Manet Giclee Print

Femme Essuyany les Cheveux

Bellelli Family Giclee Print

Dancer with Bouquet Curtseying

Dancer with a Fan

Portrait of Princess Pauline de Metternich

Three Dancers Giclee Print

Pedicure Giclee Print

Danseuse Giclee Print

Ballet Rehearsal Giclee Print

Dance Class Giclee Print

Houses on Cliffs Art Print

Upon coming back from Italy during 1859, Degas resumed his education with his re-creating art works in the Louvre; he would be an avid copyist well into his middle years. During the early 1860s, when calling on his boyhood acquaintance Paul Valpincon in Normandy, he created his initial sketches of horses. He presented his first paintings with the Salon during 1865, the jury had admitted his historical work Scene of War in the Middle Ages. At the time the painting drew little notice. Although he had work admitted into the Salon for the next five years, he presented no more historical pieces. His work titled Steeplechase, The Fallen Jockey indicated a developing allegiance to more current themes.

The shift in Degas art had been greatly inspired by Edouard Manet. Degas and Manet had met during 1864 while the two artist had been copying at the Louvre. In 1870 came the eruption of the Franco-Prussian War, and so Degas enlisted with the National Guard whose task was the defense of the city of Paris. Being in the National Guard allowed for little time for Degas to be painting. While he had been at rifle training, it was determined that his vision was imperfect, and for the remainder of his lifetime his eye troubles were a perpetual concern for him.

Following the war during 1872, Degas made a drawn-out stop in New Orleans, Louisiana at the home of his brother Rene. A number of he other relatives resided in New Orleans as well. Degas stayed in a home on Esplanade Avenue, where created numerous of paintings, several of these would be portraits of family members. On of his art works from this period which depicts a view of The Cotton Exchange at New Orleans, earned the artist approval back in France, as well as is notable for being his sole painting to be bought by a museum during his life.

Degas went back to Paris during 1873. The next year his father passed away and so the estate was dissolved, it had been exposed that Degas' brother Rene had accumulated large business debts. To maintain the family name, Degas was coerced to sell his home and a painting collection which he had inherited. The artist suddenly discovered himself being completely dependent on income that he could bring in from the sales generated by his artwork as his sole revenue. By now he had been soundly disillusioned with the Salon, and instead turned to a circle of young painters who had determined to coordinate an independent exhibition under different rules then the strict, political salon. The original exhibit held by the group, which had been rapidly been becoming known by the name of the Impressionist Exhibitions, had been held during 1874. The Impressionists later conducted seven more shows, the final during 1886. Degas accepted the position of coordinating the shows. He would display his paintings in all of the shows held by the Impressionists save one, in spite of his having persistent differences with other people of the group. He had little in common with Monet as well as the other landscape artists members. Degas was in fact reported to whom he mocked for painting plien air style, or outdoors as opposed to creating studio art.. Orthodox in his social positions, he loathed the outrage produced by these exhibits, as well as the promotion and publicizing which other group members wanted. He piercingly disapproved of the term Impressionist, a name which the press had produced and generalized, and his pressure to admit in such relatively conventional artists as Jean-Louis Forain or Jean-François Raffaelli in their shows caused bitterness inside the group, leading to their eventual dissolving in 1886.

As his economic position improved due increased income he made from the sale his own art, Degas was allowed to indulge his love for collecting paintings by artists he respected, old masters including El Greco as well as his contemporaries like Paul Cézanne, Édouard Manet, Paul Gauguin, Camille Pissarro, and Vincent Van Gogh. Three painters he revered, Jean-Auguste-Dominique Ingres, Eugène Delacroix and Honoré Daumier, were particularly well presented within his collection.

During the latter 1880s, Degas likewise evolved a love for photography. He snapped several pictures of his friends, frequently taken by lamplight, as seen in his dual portrait of Renoir and Stephane Mallarme. Additional pictures, showing dancers as well as nudes, had been later used by the artist for reference in a few of Degas' sketches and art works.

While the years passed, Degas grew detached, owing in part to his conviction that being an artist might include no personal life. The Dreyfus Affair debate agitated his antisemitic inclinations and he fell off with his Jewish acquaintances. During his later life, Degas rued the passing of these friends.

Although he is recognized to have been painting in pastel up to a period as late as the close of 1907, as well as is thought to have resumed an interest in creating sculpture as late as 1910, he evidently stopped working during 1912, once the imminent destruction of his longtime home in the rue Victor Masse forced him to make a painful relocation to quarters at the boulevard de Clichy. He never wed and passed the final years of his lifetime, almost blind, restlessly meandering the streets of Paris prior to his passing away during 1917. Degas' final years had been melancholy and solitary, particularly since he outlasted most of his dearest friends.

A l'écurie, cheval et chien (c.1862)
Après le bain (1895)
Après le bain (1896)
Autoportrait (1857-1858)
Auto-portrait (c.1862)
Avant la course (c.1882-1888)
Buste de femme (c.1887-1890)
Chevaux et jockeys (c.1890-1895)
Danseuse au tambourin (c.1897)
Danseuse bleue, au ballet (1891)
Danseuse vue de dos
Danseuses (1895-1900)
Danseuses au foyer (1900-1905)
Danseuses bleutées (La répétition au foyer de la danse) (c.1882)
Danta y Beatriz
Dante et Béatrice
Dante et Virgile à l'entrée de l'Enfer (1857-1858)
Degas en gilet vert, 1855-56
Deux chevaux au pâturage (c.1871)
Duchesse de Montejasi-Cicerale, c.1868
Étude de buste d'après l'antiquité
Étude de buste d'après l'antiquité
Etude de ciel (c.1856-1858)
Etude de drapé au livre (c.1855-1856)
Etude de main (c.1856)
Etude pour La Fille de Jephté (c.1861-1864)
Étude pour le portrait de la Famille Bellelli (1858-1859)
Étude pour Miss Lala au cirque Fernando (1879)
Femme à sa toilette (c.1895-1900)
Femme assise sur un canapé (1868-1872)
Femme debout (c.1867-1968)
Femme debout et vue de face, agrafant son corset (1883)
Femme en peignoir bleu et le torse découvert (c.1887-1890)
Femme nue
Femme se coiffant (c.1884)
Jeune homme assis à la jacquette et au parapluie
Jockey à cheval (c.1868-1870)
La femme de Candaules
La fille de Jephté, esquisse (c.1861-1864)
La promenade des chevaux (c.1892)
Le départ pour la chasse, circa 1873
L'enfant en bleu (c.1853-1854)
Les chevaux de courses (c.1871-1872)
Les pointes (c.1877-1878)
L'étang dans la forêt (c.1870-1875)
Mademoiselle Fiocre dans le Ballet de la Source (étude) (1866-1868)
Mademoiselle Malo (c.1877)
Marine: la mer calme, vue de la falaise
Palette de travail de l'artiste
Paysage
Paysage au bord de la mer (c.1895-1898)
Paysage d'Italie (c.1856-1858)
Paysage d'Italie (c.1857-1860)
Paysage d'Italie, crépuscule
Paysage d'Italie/Tête d'Aristote (c.1856-1858)
Paysage, effet du soir (c.1857-1858)
Portrait d'Achille Degas (1864)
Portrait de femme (c.1867-1872)
Portrait de femme assise (1887)
Portrait de Germain Musson ou René-Hilaire Degas (c.1853-1855)
Portrait de Giulia Bellelli, Mme Mauri (1858-1859)
Portrait de Paul Valpincon (c.1868-1872)
Portrait de René de Gas (c.1855)
Portrait de René-Hilaire Degas, grand-père de l'artiste (c.1853-1855)
Portrait d'Eugène Manet (c.1875)
Portrait d'homme (c.1868-1875)
Portrait d'homme, debout, les mains dans les poches (c.1868-1869)
Portrait d'un jeune homme (René de Gas)
Saint Antoine réssuscitant une femme tuée par son mari (c.1858)
Saint-Valéry-sur-Somme (1896-1898)
Scène de ballet (c.1885)
Scène de Ballet (c.1893)
Sémiramis construisant une ville (1861)
SPAIN , 19 Dec 2000
Tête de jeune femme de face (c.1899)
Tête d'enfant
Tête d'homme (c.1864)
Tête florentine, d'après un tableau ancien
Trois danseuses en rose (c.1886)
Trois danseuses en rose, circa 1886
Trois têtes (c.1871)

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A stable, horse and dog (c.1862)
After bathing (1895)
After bathing (1896)
Self (1857-1858)
Self-portrait (c.1862)
Before the race (c.1882-1888)
Buste de femme (c.1887-1890)
Horses and jockeys (c.1890-1895)
Danseuse au tambourine (c.1897)
Dancer blue, ballet (1891)
Dancer back view
Dancers (1895-1900)
Dancers at home (1900-1905)
Dancers blue (Repeating the home of dance) (c.1882)
Danta y Beatriz
Dante and Beatrice
Dante and Virgil at the entrance of Hell (1857-1858)
Degas a green vest, 1855-56
Two horses grazing (c.1871)
Duchess of Montejasi-Cicerale, c.1868
Study after bust of ancient
Study after bust of ancient
Sky Survey (c.1856-1858)
Study draped the book (c.1855-1856)
Study main (c.1856)
Etude pour La Fille de Jephté (c.1861-1864)
Study for the portrait of the Bellelli Family (1858-1859)
Study for Miss Lala at the Cirque Fernando (1879)
Woman in her toilet (c.1895-1900)
Woman sitting on a couch (1868-1872)
Woman standing (c.1867-1968)
Woman to stand and face, agrafant her corset (1883)
Women in blue robe and torso discovered (c.1887-1890)
Femme nue
Women have hair (c.1884)
Young man seated at the jacquette and umbrella
Jockey straddles (c.1868-1870)
The woman Candaules
The daughter of Jephté, outline (c.1861-1864)
The ride horses (c.1892)
The departure for hunting, circa 1873
The child in blue (c.1853-1854)
The horse racing (c.1871-1872)
The peak (c.1877-1878)
The pond in the woods (c.1870-1875)
Miss Fiocre in the Ballet de la Source (study) (1866-1868)
Miss Malo (c.1877)
Marine: a calm sea, towards the cliff
Palette work of the artist
Landscape
Landscape by the sea (c.1895-1898)
Landscape Italy (c.1856-1858)
Landscape Italy (c.1857-1860)
Landscape Italy, twilight
Landscape Italy / Head of Aristotle (c.1856-1858)
Landscape effect evening (c.1857-1858)
Portrait of Achille Degas (1864)
Portrait de femme (c.1867-1872)
Portrait de femme assise (1887)
Portrait Germain Musson and René-Hilaire Degas (c.1853-1855)
Portrait of Giulia Bellelli, Ms. Mauri (1858-1859)
Portrait of Paul Valpincon (c.1868-1872)
Portrait of Rene de Gas (c.1855)
Portrait of Rene-Hilaire Degas, grandfather of the artist (c.1853-1855)
Portrait of Eugene Manet (c.1875)
Portrait of man (c.1868-1875)
Portrait of man, standing, hands in pockets (c.1868-1869)
Portrait of a young man (Rene de Gas)
Saint Antoine réssuscitant a woman killed by her husband (c.1858)
Saint-Valery-sur-Somme (1896-1898)
Scene ballet (c.1885)
Scene de Ballet (c.1893)
Sémiramis building a city (1861)
SPAIN, December 19, 2000
Head of a young woman face (c.1899)
Head of kids
Head man (c.1864)
Head Florentine, according to a former table
Three dancers in pink (c.1886)
Three dancers in pink, circa 1886
Three heads (c.1871)