Published by The Museum of Modern Art, New York. Edited with text by Jodi Hauptman. Text by Carol Armstrong, Jonas Beyer, Kathryn Brown, Karl Buchberg, Hollis Clayson, Samantha Friedman, Richard Kendall, Laura Neufeld, Stephanie O'Rourke, Raisa Rexer, Jill de Vonyar.
A towering figure in 19th-century art, Degas is best known as a painter and chronicler of the ballet. Yet his work in monotype reveals the true extent of his restless experimentation. In the mid-1870s, Degas was introduced to the monotype process, a technique in which the artist draws in ink on a metal plate that is then run through a press, typically resulting in a single print. Degas embraced the medium with enormous enthusiasm, inventing a new repertoire of mark-making that included wiping, scraping, scratching, fingerprinting and rendering via removal. The resulting works are characterized by enigmatic and mutable forms, luminous passages emerging from darkness and a heightened tactility. Taking the monotype process to radical ends, Degas explored a variety of subjects, including city dwellers in motion; harshly illuminated cafe singers, ballet dancers on and offstage, women in intimate settings; and evanescent landscapes. With this medium, Degas is at his most modern, liberating drawing from tradition, depicting the body in new and daring ways, and boldly engaging the possibilities of abstraction. Published to accompany an exhibition at The Museum of Modern Art, this richly illustrated catalogue presents approximately 120 monotypes along with some 60 related works, including paintings, drawings, pastels, sketchbooks and prints. Essays and detailed studies by curators, scholars and conservators explore the creative potency of Degas’ rarely seen monotypes, and highlight their impact on his wider practice. Hilaire-Germain-Edgar Degas (1834–1917) was a French painter, draftsman, printmaker and sculptor celebrated for his scenes of modern life, from the cabaret concert to the racetrack to the ballet, the subject for which he is best known. Academically trained, Degas emulated old master and 19th-century predecessors; at the same time, he embraced radically new subjects, compositions and techniques.
Jodi Hauptmann is Senior Curator in the Department of Drawings and Prints at The Museum of Modern Art, New York.
Carol Armstrong is Professor of History of Art at Yale University.
Jonas Beyer is Professor in the Department of Art History at the Georg-August-Universität, Göttingen.
Kathryn Brown is a specialist in modern French painting, literature and contemporary art and lectures at Tilburg University, The Netherlands.
Karl Buchberg is Senior Conservator, The Museum of Modern Art, New York.
Hollis Clayson is Professor of Art History and Bergen Evans Professor in the Humanities at Northwestern University.
Samantha Friedman is Assistant Curator of Department of Drawings and Prints at The Museum of Modern Art, New York.
Richard Kendall is Curator-at-Large, Sterling and Francine Clark Art Institute, New York.
Laura Neufeld is Assistant Conservator at The Museum of Modern Art, New York.
Stephanie O’Rourke is former Mellon Fellow at The Museum of Modern Art, New York.
Raisa Rexer is a freelance art critic and instructor of French at Yeshiva University and City College, CUNY.
Published by Hatje Cantz. Edited by Martin Schwander. Text by Carol Armstrong, Jonas Beyer, Richard Kendall, Martin Schwander, Mareike Wolf-Scheel.
While Edgar Degas has long been considered one of the major pioneers of modern art, exhibitions of his work remain a surprisingly rare occurrence, and the enduring popularity of the “beautiful” paintings of his Impressionist phase can obscure the overall complexity of his oeuvre. But Degas experimented with various media—drawing and printing techniques, pastel, photography, sculpture—throughout his life, and, after putting Impressionism behind him in 1880, he reached the undoubted culmination of his art in his daring and unique late work. In the artworks he created between 1890 and 1912, the delicate, detailed painting of his mature period gives way to an unbridled pleasure in technical experimentation and an obsessive creativity that increasingly liberates the means of depiction from any straightforward representational function. As if in a dreamlike state, Degas conflates past and present, things seen and remembered, to create his renowned depictions of dancers and female nudes, jockeys and racehorses, landscapes and portraits. Edgar Degas: The Late Work is the first publication to present a comprehensive overview of the technical diversity and wide range of themes in Degas’ oeuvre, and is published to coincide with an exhibition at the Fondation Beyeler in Riehen/Basel. A founder of the French Impressionist movement, Edgar Degas (1834–1917) began to paint early in life, possessing a studio by the age of 18, and working primarily in history painting up until 1864, when he met Manet (while both were copying the same Velázquez portrait in the Louvre, according to legend). In 1872 he lived in New Orleans, producing several portraits of his extended family there. By the 1880s, his works commanded sufficient prices to permit him to collect works by many of his contemporaries, as well as older masters such as El Greco, Ingres and Delacroix.
Published by MFA Publications. Text by Xavier Rey, Anne Roquebert, George T.M. Shackelford. Interview with Lucian Freud by Martin Gayford.
The nude figure was critical to the art of Edgar Degas throughout his life, and yet frequently his expansive body of work on this subject has been overshadowed by his celebrated portraits and dancers. Degas and the Nude is the first book in a generation to explore the artist's treatment of the nude from his early years in the 1850s and 1860s, through his triumphs in the 1880s and 1890s, all the way to his last decades when the theme dominated his artistic production in all media. With essays by leading American and French critics, it provides a new interpretation of Degas' evolving conception of the nude, situating it in the subject's broader context among his peers in nineteenth-century France. It explores how Degas exploited all of the body's expressive possibilities, how his vision of the nude informed his notion of modernity, and how he abandoned the classical or historical form in favor of a figure seen in her own time and setting--whether engaged in overtly carnal acts or just stepping out of an ordinary bath. More than 200 lushly rendered full-color images present a re-seeing of Degas' subject in paintings, pastels, drawings, prints and sculpture. Among them are the most important of Degas' early paintings of nudes, Scene of War in the Middle Ages, which exerted a lifelong influence on the artist's treatment of the female nude and includes poses repeated throughout his career; monotypes of the late 1870s, almost caricature-like in their imagery, illustrating Degas' most explicitly sexual depictions of women in Parisian brothels; and a number of pictures portraying the daily life of women wherever they may reside. Together these iterations range over more than a half-century of genius achievement and present a groundbreaking look at the evolution of this master artist.
Published by Royal Academy Publications. Text by Richard Kendall.
Edgar Degas is best known for his luminous studies of dancers. He captured his young female subjects warming up, practicing at the bar, or mid-performance with a stunning immediacy and accuracy, on canvas, paper, and in bronze. Although Degas did not consider himself part of the Impressionist movement, he is often viewed in that context. This sumptuously illustrated book offers a new framework, establishing Degas as a thoroughly modern artist who was engaged with and influenced by the then-new mediums of photography and film. Using drawings, pastels, paintings, prints, sculpture, photographs taken by the artist and his contemporaries, and samples of film from the period, renowned Degas scholars Richard Kendall and Jill DeVonyar examine the artist s innovative approach to the subject, from his documentary mode of the early 1870s to the sensuous and expressive manner of his late work.