Dancers in the classroom
Edgar Degas (1834-1917), French painter and sculptor, is considered one of the major representatives of Impressionism through its innovative composition and its prospect analysis movement. He was also one of the most active organizers impressionist movements, although his artistic ideas were distinct from those of his Impressionist friends. His real name Hilaire Germain Edgar de Gas, he was born in Paris in July 1834 in a large noble family of bankers, wealthy and cultured. After briefly studying law, he studied at the Ecole des Beaux- Arts under the direction of Lamothe, a pupil of Ingres , a painter whom he was always devote boundless admiration . There he ...view middle of the document...
Horizontally we see than the upper corresponds almost exactly to the median line of the head of leakage dancers, therefore, so to speak vertical center of gravity of the table , the bottom line pretending play a less important role. Vertically , we see that the left mark the exact middle of the body of the dancer in the foreground, while the right along the cane master , both in the upper part is very close to the parallel edges of the mirror .
More than crossing points, it can also be interesting to observe the nine squares and formed which almost possible to differentiate the important elements of the array.
Below, the watering can with the signature, then the little dog enigmatic, and finally an almost empty square, if not creepage prosecutors who obviously been reworked. Middle, left yellow tutu and dancer in the letter, then the center of the two most dancers worked and face the foreground. Top left the dancer on the piano posture if unconventional and the mirror returning the image window, and right bottom but with the dancer who stretches the parents and especially the mocking ballerina. We find here a good part of elements we mention previously, both differentiated and interconnected by these specific lines.
The painter has arranged the ballerinas of his painting the walls all around the room, at different levels. Degas drawing tirelessly to make closer the expressive body. He called the research “variations ". His quest for perfection led him to study the three-dimensional body. Degas reflects the activity revailing in the room by dividing the dancers into three groups: those of sitting back waiting, those in the center running. Degas plays with contrasts between the body at rest and those in motion. This research is accompanied by a color work. Applying white tutus vaguely and vaporous, Degas reinforces the impression of movement. It vibrates in harmony white punctuating with vivid and intense colors of belts. In the foreground, one is perched on a table or piano; in the end we also see girls in the top. The perspective slightly diving, focusing on the diagonal of the room accentuates the vanishing perspective of floorboards. The floor becomes very important in this table, highlighting the depth of the room. Well bounded by straight lines converging towards the back of the room to ask slats require look far ahead.
In this table, there are several light sources: one is from the opening in the outer wall and the light assign through the window. One can imagine that other windows on the right also allow light to pass. Whiteness and transparency tutus give clarity to the table. Work on the lights and a shadow is very important in this work because it is he who helps the pleats and tutus movements, which are the main mediators between the movements of the dancers and the audience. We can thus see the tutu dancer in foreground: the light comes from the right course, plunging the left in the shadows, but folds completely white fabric cannot...