Edgar Degas:
Painting „The Balet Class“ (1885/1890) in museum frame

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Edgar Degas:
Painting „The Balet Class“ (1885/1890) in museum frame

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ars mundi special edition | Limited, 499 copies | Certificate | Reproduction, giclée on canvas | Stretcher | Museum frame | Format 75 x 61 cm

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Edgar Degas: Painting „The Balet Class“ (1885/1890) in museum frame

Degas was famous for his ability to capture a moment. Sometimes he used photographs as models in order to achieve natural composition of his paintings. So, no wonder, that the “Ballet Lesson” has an effect of a photo. It shows a sharply cut abstract of the world with the exact motions of students, creating a realistic imitation of life.

For a brilliant authentic reproduction the original was transmitted directly on artistic canvas, made of 100% cotton and stretched. Fine-art giclée print. Limited edition of 499 copies with a certificate. Framed in a handmade museum frame with leaf-metal gilding. Format 75 x 61 cm. Especially at ars mundi.

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Paintings of charming dancers and colorful theatre scenes are in the center of Degas’ creation since the mid-1860s. They belong to a group of everyday paintings showing the life of the great city. In many of his creations, Degas criticizes the new, modern world. By unusual details, he highlights the isolation of the single.

The French painter born in 1834, who, according to the wish of his affluent family, would have become a lawyer, studied the old masters in Louvre and in the Italian museums. Classical history paintings and portraits belonged once to his theme and form portfolio. Only after his encounter of Eduard Manet and the regular exhibitions after 1874 with the impressionists, he changed his painting style. However, he never saw himself as representative of this style and insisted on his independence.

In his works, there are no landscapes and he did not use impressionist color and form decomposition. For Degas, humans were the dominant theme of his creation. The connection between his works and the impressionists resided in his attempt to retain the moment. His skills of rendering movement is shown in the dynamic paintings of horse racings and ballet scenes. By fast brush strokes of pastel colors and delicate contour lines, he captures his theme. Degas’ artistic base was the drawing, containing important influences of Japanese xylographs. He transposes his themes in painting as well as in graphic works.

As Degas’ eyesight was weakening toward the end of his life, he switched from painting to sculpture. He modeled statuettes of riders and dancers, thus staying faithful to his familiar themes. Degas dined in 1917 in Paris.

Graphic or sculpture edition that was initiated by ars mundi and is available only at ars mundi or at distribution partner licensed by ars mundi.

Giclée = derived from the French verb gicler meaning "to squirt, spray".

Giclée method is a digital printing process. It is a high-resolution, large-format printout on an inkjet printer with special different coloured or pigment-based inks (usually six to twelve). The colours are light-fast, that is, resistant to harmful UV light. They have a high richness of nuance, contrast and saturation.

The Giclée process is suitable for real art canvas, handmade and watercolor paper and for silk.

Representation of typical scenes of daily life in painting, which can distinguish between peasant, bourgeois and courtly themes.

The genre reached its peak and immense popularity in the Dutch painting of the 17th century. In the 18th century, especially in France, the courtly and gallant painting comes to the fore while in Germany the bourgeois character was emphasised.

The style of Impressionism that emerged in French painting in 1870 owes its name to the Claude Monet's landscape 'Impression, Soleil Levant'. After initial refusal it began a true triumphant advance.

Such painters as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in a bright, natural light.

Impressionism can be seen as a reaction to the academic painting. The emphasis was not on content with its strict rules of painting structure, but on the object as it appears at any given moment, in an often random cut out. The reality was seen in its whole color variety in natural lighting. The studio painting was replaced by the open-air painting.

The brightening of the palette and the dissolution of firm contours was accompanied by a new way of handling with color. Often, the colors were no longer mixed on the palette but side by side on the canvas so that the final impression lies in the eye of the beholder with a certain distance. In "Pointillism", (with such painters as Georges Seurat or Paul Signac) this principle was carried to the extreme.

Outside France, Impressionism was taken up by such painters as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.

In sculpture, the impressionism expressed itself only conditionally. In the works of Auguste Rodin, who is considered one of the main representatives, you can see a resolution of the surfaces in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.