LaurieAnnie's photos with the keyword: ballet

Title: Mademoiselle Fiocre in the Ballet "La Source" Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1867–68 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 51 1/2 × 57 1/8 in., 166 lb. (130.8 × 145.1 cm, 75.3 kg) Framed: 63 × 69 × 6 1/4 in. (160 × 175.3 × 15.9 cm) Classification: Paintings Credit Line: Brooklyn Museum, Gift of James H. Post, A. Augustus Healy, and John T. Underwood (21.111) Degas submitted this painting to the 1868 Salon with the title Portrait de Mlle E. F. à propos du ballet ‘La Source,’ referring to Eugénie Fiocre, a famous dancer at the Paris Opera. Although its exhibited title suggests that he intended the work as a portrait, it otherwise gives the impression of a literary or mythological subject. Rather than show the performance, Degas captures the young woman and other dancers at rest during rehearsal, providing little indication of a stage set beyond the pink ballet slippers visible between the horse’s legs. Text from: www.metmuseum.org/art/collection/search/844733

Title: Mademoiselle Fiocre in the Ballet "La Source" Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1867–68 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 51 1/2 × 57 1/8 in., 166 lb. (130.8 × 145.1 cm, 75.3 kg) Framed: 63 × 69 × 6 1/4 in. (160 × 175.3 × 15.9 cm) Classification: Paintings Credit Line: Brooklyn Museum, Gift of James H. Post, A. Augustus Healy, and John T. Underwood (21.111) Degas submitted this painting to the 1868 Salon with the title Portrait de Mlle E. F. à propos du ballet ‘La Source,’ referring to Eugénie Fiocre, a famous dancer at the Paris Opera. Although its exhibited title suggests that he intended the work as a portrait, it otherwise gives the impression of a literary or mythological subject. Rather than show the performance, Degas captures the young woman and other dancers at rest during rehearsal, providing little indication of a stage set beyond the pink ballet slippers visible between the horse’s legs. Text from: www.metmuseum.org/art/collection/search/844733

Title: Mademoiselle Fiocre in the Ballet "La Source" Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1867–68 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 51 1/2 × 57 1/8 in., 166 lb. (130.8 × 145.1 cm, 75.3 kg) Framed: 63 × 69 × 6 1/4 in. (160 × 175.3 × 15.9 cm) Classification: Paintings Credit Line: Brooklyn Museum, Gift of James H. Post, A. Augustus Healy, and John T. Underwood (21.111) Degas submitted this painting to the 1868 Salon with the title Portrait de Mlle E. F. à propos du ballet ‘La Source,’ referring to Eugénie Fiocre, a famous dancer at the Paris Opera. Although its exhibited title suggests that he intended the work as a portrait, it otherwise gives the impression of a literary or mythological subject. Rather than show the performance, Degas captures the young woman and other dancers at rest during rehearsal, providing little indication of a stage set beyond the pink ballet slippers visible between the horse’s legs. Text from: www.metmuseum.org/art/collection/search/844733

Title: Mademoiselle Fiocre in the Ballet "La Source" Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1867–68 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 51 1/2 × 57 1/8 in., 166 lb. (130.8 × 145.1 cm, 75.3 kg) Framed: 63 × 69 × 6 1/4 in. (160 × 175.3 × 15.9 cm) Classification: Paintings Credit Line: Brooklyn Museum, Gift of James H. Post, A. Augustus Healy, and John T. Underwood (21.111) Degas submitted this painting to the 1868 Salon with the title Portrait de Mlle E. F. à propos du ballet ‘La Source,’ referring to Eugénie Fiocre, a famous dancer at the Paris Opera. Although its exhibited title suggests that he intended the work as a portrait, it otherwise gives the impression of a literary or mythological subject. Rather than show the performance, Degas captures the young woman and other dancers at rest during rehearsal, providing little indication of a stage set beyond the pink ballet slippers visible between the horse’s legs. Text from: www.metmuseum.org/art/collection/search/844733

Title: Mademoiselle Fiocre in the Ballet "La Source" Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1867–68 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 51 1/2 × 57 1/8 in., 166 lb. (130.8 × 145.1 cm, 75.3 kg) Framed: 63 × 69 × 6 1/4 in. (160 × 175.3 × 15.9 cm) Classification: Paintings Credit Line: Brooklyn Museum, Gift of James H. Post, A. Augustus Healy, and John T. Underwood (21.111) Degas submitted this painting to the 1868 Salon with the title Portrait de Mlle E. F. à propos du ballet ‘La Source,’ referring to Eugénie Fiocre, a famous dancer at the Paris Opera. Although its exhibited title suggests that he intended the work as a portrait, it otherwise gives the impression of a literary or mythological subject. Rather than show the performance, Degas captures the young woman and other dancers at rest during rehearsal, providing little indication of a stage set beyond the pink ballet slippers visible between the horse’s legs. Text from: www.metmuseum.org/art/collection/search/844733

Title: Mademoiselle Fiocre in the Ballet "La Source" Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1867–68 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 51 1/2 × 57 1/8 in., 166 lb. (130.8 × 145.1 cm, 75.3 kg) Framed: 63 × 69 × 6 1/4 in. (160 × 175.3 × 15.9 cm) Classification: Paintings Credit Line: Brooklyn Museum, Gift of James H. Post, A. Augustus Healy, and John T. Underwood (21.111) Degas submitted this painting to the 1868 Salon with the title Portrait de Mlle E. F. à propos du ballet ‘La Source,’ referring to Eugénie Fiocre, a famous dancer at the Paris Opera. Although its exhibited title suggests that he intended the work as a portrait, it otherwise gives the impression of a literary or mythological subject. Rather than show the performance, Degas captures the young woman and other dancers at rest during rehearsal, providing little indication of a stage set beyond the pink ballet slippers visible between the horse’s legs. Text from: www.metmuseum.org/art/collection/search/844733

The Ballet Class Hilaire-Germain-Edgar Degas, French, 1834 - 1917 Geography: Made in France, Europe Date: c. 1880 Medium: Oil on canvas Dimensions: 32 3/8 x 30 1/4 inches (82.2 x 76.8 cm) Framed: 41 9/16 x 39 5/8 x 2 5/8 inches (105.6 x 100.6 x 6.7 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 153, European Art 1850-1900, first floor (Lassin Gallery) Accession Number: W1937-2-1 Credit Line: Purchased with the W. P. Wilstach Fund, 1937 Label: In this everyday scene from backstage at the Paris Opéra, a ballet instructor observes two young dancers while a mother sits reading in the foreground. Degas spent a great deal of time in the corridors and rehearsal rooms of the Opéra, where he would have seen mothers like this one managing their young daughters' careers. Girls began official ballet classes at age seven or eight in hopes of becoming premiere dancers by their late teens. Text from: www.philamuseum.org/collections/permanent/104465.html?mulR=946640413|1

The Ballet Class Hilaire-Germain-Edgar Degas, French, 1834 - 1917 Geography: Made in France, Europe Date: c. 1880 Medium: Oil on canvas Dimensions: 32 3/8 x 30 1/4 inches (82.2 x 76.8 cm) Framed: 41 9/16 x 39 5/8 x 2 5/8 inches (105.6 x 100.6 x 6.7 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 153, European Art 1850-1900, first floor (Lassin Gallery) Accession Number: W1937-2-1 Credit Line: Purchased with the W. P. Wilstach Fund, 1937 Label: In this everyday scene from backstage at the Paris Opéra, a ballet instructor observes two young dancers while a mother sits reading in the foreground. Degas spent a great deal of time in the corridors and rehearsal rooms of the Opéra, where he would have seen mothers like this one managing their young daughters' careers. Girls began official ballet classes at age seven or eight in hopes of becoming premiere dancers by their late teens. Text from: www.philamuseum.org/collections/permanent/104465.html?mulR=946640413|1

The Ballet Class Hilaire-Germain-Edgar Degas, French, 1834 - 1917 Geography: Made in France, Europe Date: c. 1880 Medium: Oil on canvas Dimensions: 32 3/8 x 30 1/4 inches (82.2 x 76.8 cm) Framed: 41 9/16 x 39 5/8 x 2 5/8 inches (105.6 x 100.6 x 6.7 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 153, European Art 1850-1900, first floor (Lassin Gallery) Accession Number: W1937-2-1 Credit Line: Purchased with the W. P. Wilstach Fund, 1937 Label: In this everyday scene from backstage at the Paris Opéra, a ballet instructor observes two young dancers while a mother sits reading in the foreground. Degas spent a great deal of time in the corridors and rehearsal rooms of the Opéra, where he would have seen mothers like this one managing their young daughters' careers. Girls began official ballet classes at age seven or eight in hopes of becoming premiere dancers by their late teens. Text from: www.philamuseum.org/collections/permanent/104465.html?mulR=946640413|1

Dancers at the Barre Hilaire-Germain-Edgar Degas 1834-1917 Nationality: French Creating Date: ca. 1900 Medium: Oil on canvas Dimensions: 51 1/4 x 38 1/2 in.; 130.175 x 97.79 cm Credit Line: Acquired 1944 Dancers at the Bar exemplifies Hilaire-Germain-Edgar Degas’s ability, late in his career, to allow the expressive application of medium and color to overtake the rationality of subject and composition. The motif of a dancer with her leg propped up on a practice bar appears as early as the mid-1870’s and continues to around 1900. This work is one of the latest representations. Phillips called the painting a “masterpiece (which) in its monumentality… is unique among all (Degas’s) decorations celebrating… dancers. (In its) daring record of instantaneous change at a split second of observation (he) miraculously… transformed the incident of swiftly seen shapes in time into a thrilling vision of dynamic forms in space.” Text from: www.phillipscollection.org/collection/browse-the-collection?id=0479

Dancers at the Barre Hilaire-Germain-Edgar Degas 1834-1917 Nationality: French Creating Date: ca. 1900 Medium: Oil on canvas Dimensions: 51 1/4 x 38 1/2 in.; 130.175 x 97.79 cm Credit Line: Acquired 1944 Dancers at the Bar exemplifies Hilaire-Germain-Edgar Degas’s ability, late in his career, to allow the expressive application of medium and color to overtake the rationality of subject and composition. The motif of a dancer with her leg propped up on a practice bar appears as early as the mid-1870’s and continues to around 1900. This work is one of the latest representations. Phillips called the painting a “masterpiece (which) in its monumentality… is unique among all (Degas’s) decorations celebrating… dancers. (In its) daring record of instantaneous change at a split second of observation (he) miraculously… transformed the incident of swiftly seen shapes in time into a thrilling vision of dynamic forms in space.” Text from: www.phillipscollection.org/collection/browse-the-collection?id=0479

Dancers at the Barre Hilaire-Germain-Edgar Degas 1834-1917 Nationality: French Creating Date: ca. 1900 Medium: Oil on canvas Dimensions: 51 1/4 x 38 1/2 in.; 130.175 x 97.79 cm Credit Line: Acquired 1944 Dancers at the Bar exemplifies Hilaire-Germain-Edgar Degas’s ability, late in his career, to allow the expressive application of medium and color to overtake the rationality of subject and composition. The motif of a dancer with her leg propped up on a practice bar appears as early as the mid-1870’s and continues to around 1900. This work is one of the latest representations. Phillips called the painting a “masterpiece (which) in its monumentality… is unique among all (Degas’s) decorations celebrating… dancers. (In its) daring record of instantaneous change at a split second of observation (he) miraculously… transformed the incident of swiftly seen shapes in time into a thrilling vision of dynamic forms in space.” Text from: www.phillipscollection.org/collection/browse-the-collection?id=0479

Dancers at the Barre Hilaire-Germain-Edgar Degas 1834-1917 Nationality: French Creating Date: ca. 1900 Medium: Oil on canvas Dimensions: 51 1/4 x 38 1/2 in.; 130.175 x 97.79 cm Credit Line: Acquired 1944 Dancers at the Bar exemplifies Hilaire-Germain-Edgar Degas’s ability, late in his career, to allow the expressive application of medium and color to overtake the rationality of subject and composition. The motif of a dancer with her leg propped up on a practice bar appears as early as the mid-1870’s and continues to around 1900. This work is one of the latest representations. Phillips called the painting a “masterpiece (which) in its monumentality… is unique among all (Degas’s) decorations celebrating… dancers. (In its) daring record of instantaneous change at a split second of observation (he) miraculously… transformed the incident of swiftly seen shapes in time into a thrilling vision of dynamic forms in space.” Text from: www.phillipscollection.org/collection/browse-the-collection?id=0479

Artist: Edgar Degas (French, Paris 1834–1917 Paris) Title: The Dancing Class Date: ca. 1870 Medium: Oil on wood Dimensions: 7 3/4 x 10 5/8 in. (19.7 x 27 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.184 Gallery Label: This is the very first of Degas's innumerable scenes of ballet dancers going through their paces in the studios and rehearsal rooms of the Paris Opéra. Late in his life, when he looked again at these early pictures, Degas lamented that he no longer had the eyes for such exacting work. When he painted this small picture—for which there are many large study drawings—he did not yet have privileges to go backstage at the Opéra, then on the rue Le Peletier. In the late 1870s, Degas explained, "I have done [painted] so many of these dance examinations without having seen them that I am a little ashamed of it." The dancer at the center of the composition is Joséphine Gaujelin (or Gozelin), whom Degas also portrayed in a stunning portrait (Isabella Stewart Gardner Museum, Boston). Here, she awaits the starting note from the ballet master. The watering can (to wet down the rosin on the floor), the top hat as music holder, and the empty violin case are accessories that the artist would continue to use to enliven his ballet pictures. Similarly, the poses that Degas established here would recur in his work until the end of his life. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Edgar Degas (French, Paris 1834–1917 Paris) Title: The Dancing Class Date: ca. 1870 Medium: Oil on wood Dimensions: 7 3/4 x 10 5/8 in. (19.7 x 27 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.184 Gallery Label: This is the very first of Degas's innumerable scenes of ballet dancers going through their paces in the studios and rehearsal rooms of the Paris Opéra. Late in his life, when he looked again at these early pictures, Degas lamented that he no longer had the eyes for such exacting work. When he painted this small picture—for which there are many large study drawings—he did not yet have privileges to go backstage at the Opéra, then on the rue Le Peletier. In the late 1870s, Degas explained, "I have done [painted] so many of these dance examinations without having seen them that I am a little ashamed of it." The dancer at the center of the composition is Joséphine Gaujelin (or Gozelin), whom Degas also portrayed in a stunning portrait (Isabella Stewart Gardner Museum, Boston). Here, she awaits the starting note from the ballet master. The watering can (to wet down the rosin on the floor), the top hat as music holder, and the empty violin case are accessories that the artist would continue to use to enliven his ballet pictures. Similarly, the poses that Degas established here would recur in his work until the end of his life. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Edgar Degas (French, Paris 1834–1917 Paris) Title: The Dancing Class Date: ca. 1870 Medium: Oil on wood Dimensions: 7 3/4 x 10 5/8 in. (19.7 x 27 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.184 Gallery Label: This is the very first of Degas's innumerable scenes of ballet dancers going through their paces in the studios and rehearsal rooms of the Paris Opéra. Late in his life, when he looked again at these early pictures, Degas lamented that he no longer had the eyes for such exacting work. When he painted this small picture—for which there are many large study drawings—he did not yet have privileges to go backstage at the Opéra, then on the rue Le Peletier. In the late 1870s, Degas explained, "I have done [painted] so many of these dance examinations without having seen them that I am a little ashamed of it." The dancer at the center of the composition is Joséphine Gaujelin (or Gozelin), whom Degas also portrayed in a stunning portrait (Isabella Stewart Gardner Museum, Boston). Here, she awaits the starting note from the ballet master. The watering can (to wet down the rosin on the floor), the top hat as music holder, and the empty violin case are accessories that the artist would continue to use to enliven his ballet pictures. Similarly, the poses that Degas established here would recur in his work until the end of his life. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

The Dance Class, 1874 Edgar Degas (French, 1834–1917) Oil on canvas 32 3/4 x 30 1/4 in. (83.2 x 76.8 cm) Signed (lower left): Degas Bequest of Mrs. Harry Payne Bingham, 1986 (1987.47.1) When this work and its variant in the Musée d'Orsay, Paris, were painted in the mid-1870s, they constituted Degas's most ambitious figural compositions except for history paintings. Some twenty-four women, ballerinas and their mothers, wait while a dancer executes an "attitude" for her examination. Jules Perrot, one of the best known dancers and ballet masters in Europe, conducts the class. The imaginary scene is set in a rehearsal room in the old Paris Opéra—a poster for Rossini's Guillaume Tell is on the wall beside the mirror—even though the building had just burned to the ground. The painting was commissioned in 1872 as part of an arrangement between Degas and the singer and collector Jean-Baptiste Faure. It was one of only a few commissions that the artist ever accepted, and the painting was delivered in November 1874 after two years of intermittent work. Text from: www.metmuseum.org/toah/works-of-art/1987.47.1

The Dance Class, 1874 Edgar Degas (French, 1834–1917) Oil on canvas 32 3/4 x 30 1/4 in. (83.2 x 76.8 cm) Signed (lower left): Degas Bequest of Mrs. Harry Payne Bingham, 1986 (1987.47.1) When this work and its variant in the Musée d'Orsay, Paris, were painted in the mid-1870s, they constituted Degas's most ambitious figural compositions except for history paintings. Some twenty-four women, ballerinas and their mothers, wait while a dancer executes an "attitude" for her examination. Jules Perrot, one of the best known dancers and ballet masters in Europe, conducts the class. The imaginary scene is set in a rehearsal room in the old Paris Opéra—a poster for Rossini's Guillaume Tell is on the wall beside the mirror—even though the building had just burned to the ground. The painting was commissioned in 1872 as part of an arrangement between Degas and the singer and collector Jean-Baptiste Faure. It was one of only a few commissions that the artist ever accepted, and the painting was delivered in November 1874 after two years of intermittent work. Text from: www.metmuseum.org/toah/works-of-art/1987.47.1