Degas gelingt es meisterhaft, die subtilsten Nuancen wiederzugeben. Degas Repasseuses, Women Ironing, 1884 - 86. Degas’ paintings, drawings, prints and statues of ballerinas seem either to be like his depictions of milliners or his depictions of ironers. Make Offer - MMA :: 1984 DEGAS “SPANISH DANCER” 17” SCULPTURE Bonded Bronze Museum Repro NYC Edgar Degas original bronze sculpture signed foundry stamp ballet dancer 1892 $20,000.00 Edgar Germain Hilaire Degas 061.jpg 1,000 × 1,269; 101 KB. May 25, 2012 - La Petite Danseuse par Edgar Degas, Musée D’Orsay, Paris. The backstage images, seem, to me, like the paintings of ironers working, an intrusion into a private space. Musée d'Orsay, 1 rue de la Légion d'Honneur, 75007 Paris, France, +33 (0)1 40 49 48 14 Musée d'Orsay: Edgar Degas Ballettprobe auf der Bühne zum Inhalt zu gehen (Figure 3), Figure 3 - Degas, Repetition d’un ballet sur la scene, 1874. Degas said that his subject was movement, for him the ballerinas were an opportunity to depict movement. (Figure 4), The painting doesn’t work, it is a hodgepodge of portraiture, history painting, orientalism and landscape, with a pair of ballet slippers set incongruently on the grass next to a horse. But Degas’ world was the artificial world of the theater, the opera, the ballet and not the natural world of the Impressionists. When I think of Degas, I also think of two other women’s occupations. In the background of ‘The Ballet from Robert le Diable’ is a huge stage set, the orchestra is in the foreground. One such painting is by Mary Cassatt, Degas’ dear friend and fellow painter. The Ballet Class (Edgar Degas - Musée d'Orsay)‎ (9 F) The Bellelli Family (Degas)‎ (9 F) The Dance Foyer at the Opera on the rue Le Peletier (Degas)‎ (5 F) V Le Violoncelliste Pilet‎ (2 F) Media in category "Paintings by Edgar Degas in the Musée d'Orsay" The following 107 files are in this category, out of 107 total. Der Betrachter sieht die Bühne von oben, der Blick fällt auf den Abschnitt, der durch die Rampe abgegrenzt wird. (Figure 5), Figure 5 – Degas, Portrait of Desire Dihau, 1870, Above and behind is the stage of dancing ballerinas - all truncated legs and tutus. Like factory workers, they worked six days a week. But just two years later, Degas has become Degas. The portrait of his friend, Desire Dihau, a bassoonist in the Paris Opera orchestra, depicts the musician playing his bassoon, surrounded by fellow musicians. W hen we think of Degas, we think immediately of ballerinas and that is the subject of the beautiful exhibition currently at the Musee d’Orsay which travels next year to the National Gallery in Washington, D.C. The stage, like the milliner’s shop, shows us the finished piece, the performance. Then, as now - or at least recently (think Harvey Weinstein) if any of the dancers dared refuse a rich man’s advances, it could mean the end of a dancer’s careers since it was these same men who underwrote the opera’s operating budget. Figure 7 - Mary Cassatt, In the Loge, 1878. Depictions of the private, awkward moments of a ballerina’s professional life, as she stretches, bends and rubs her sore limbs and feet. (Figure 2), Figure 1. Les petits rats of the Paris Opera Ballet, 2014). These girls, many of whom had joined the Opera as young as six years old, worked to help support their families. 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