Edgar Degas, La Chanson Du Chien (The Song Of The Dog), 1888
Signed Edgar Degas, Lithograph Crayon Drawing, La Chanson Du Chien (The Song Of The Dog), 1888
|Artist:||Degas, Edgar (1834 - 1917)|
|Title:||La Chanson Du Chien (The Song Of The Dog), 1888|
Original Crayon Degas Lithograph On Chine Collé
|Image Size:||9 1/2 in x 7 1/2 in (24.13 cm x 10.05 cm)|
|Sheet Size:||14 1/2 in x 12 1/2 in (36.8 cm x 31.8 cm)|
|Framed Size:||29 1/4 in x 30 3/4 in (74.3 cm x 78.12 cm)|
|Signed:||This work is hand signed by Edgar Degas (Paris, 1834- Paris, 1917) in pencil in the lower left margin and also hand signed by G.W. Thornley in pencil in the lower right margin.|
|Edition:||From the edition of 25.|
|Condition:||This work is in excellent condition.|
A bright fiery glow shines upward from the stage lights of a bustling Parisian café, illuminating famous nineteenth century performer Theresa Valadon, the "reigning queen of the café concert" in this exquisite Degas lithograph. Exemplary of Degas' fascination with theater performers, this work conveys Theresa Valadon in a dramatic pose against a whimsical backdrop, expressing Degas' belief that the theater is a remarkably enchanting place.
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A bright fiery glow shines upward from the stage lights of a bustling Parisian café, magically illuminating famous nineteenth century performer Theresa Valadon, the "reigning queen of the café concert" in this exquisite Degas lithograph (Shapiro 75) .
Created in 1888, Degas (Paris, 1834- Paris, 1917) collaborated with William Thornley to create a set of fifteen compositions in lithography entitled, "Quinze Lithographies d'après Degas." La Chanson du Chien, an exciting theatrical print, was published by Boussod Valadon, Paris, and printed by Atelier Becquet. A guaranteed authentic signature by Degas' appears in the lower left hand side of the work. Thornley has also signed this work in the lower right.
In the nineteenth century Impressionist artists and thinkers became fascinated with "daily life" experiences in unexpected places like the theater, cafés, parks, metropolitan promenades, and the like. Their goal as visual artists was to document intimate and generally unexplored aspects of everyday life. Artists like Degas (Paris, 1834- Paris, 1917) were active participators in this endeavor, and as such, produced many works of art deconstructing a ballet practice, a woman bathing, children exchanging a subtle glance in a park, and so on. However, Degas had a particular interest in theatrical performers. Like ballerinas, theatre folk held a particular appeal to Degas because they lead an interesting double life as performers and individuals. Degas scholar Jean Sutherland Boggs states, "Subjects inspired by the café-concert, principally signers in performance, appeared rather suddenly in Degas' work…In a letter of 1883 to the painter Henry Lerolle, Degas called her voice 'the most natural, the most delicate, and the most vibrantly tender' instrument imaginable."
Degas (Paris, 1834- Paris, 1917) , as a true artist and innovator, created this lithograph through the use of crayon on paper, which was then transferred directly to the stone. Not only was Degas interested in the most modern and contemporary subject matter of the late nineteenth century, he was also fascinated by experimental technique. As was the case for many impressionists, the artistic process was equally as important as the subject matter.
Catalogue Raisonné & COA:
1) Delteil, Loys, Le Peintre-Graveur Illustre Edgar Degas, Paris 1919, listed as cat. no. 48.
2) Boggs, Jean Sutherland, Degas, Metropolitan Museum of Art, NY, 1989, painting listed as cat. no. 175 on page 291.
3) Shapiro, Barbara Stern and Sue Welsh Reed, Edgar Degas, The Painter as Printmaker, Museum of Fine Arts, Boston, 1984, listed as cat. no. 25b on page 77.
4) Masterworks Fine Art, Inc. Certificate of Authenticity will accompany this work.
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Biography of Edgar Degas
French painter and sculptor, one of the outstanding figures of Impressionism. Edgar Degas exhibited at seven out of the eight Impressionist exhibitions, but he stood somewhat aloof from the other members of the group and his work was Impressionist only in certain limited aspects. Like the other Impressionists, Degas aimed to give the suggestion of spontaneous and unplanned scenes and a feeling of movement, and like them, he was influenced by photography (he often cut off figures in the manner of a snapshot) and by Japanese color prints (he imitated their use of unfamiliar viewpoints). However, he had little interest in landscape (he did not paint out of doors) and therefore did not share the Impressionist concern for rendering the effects of changing light and atmosphere. The appearance of spontaneity and accidental effects in his work was an appearance only; in reality his pictures were carefully composed. He said that 'Even when working from nature, one has to compose' and that 'No art was ever less spontaneous than mine'.
Degas always worked much in pastel and when his sight began to fail in the 1880s his preference for this medium increased. He also began modeling in wax at this time, and during the 1890s -- as his sight worsened -- he devoted himself increasingly to sculpture, his favorite subjects being horses in action, women at their toilet, and nude dancers. These figures were cast in bronze after his death. For the last 20 years of his life Degas was virtually blind and led a reclusive life. He was a formidable personality and his complete devotion to his art made him seem cold and aloof (as far as is known, he never had any kind of romantic involvement). His genius compelled universal respect among other artists. Degas drawings and sculptures continue to be exhibited around the world. However, Renoir ranked him above Rodin as a sculptor, and in 1883 Camille Pissarro wrote that he was 'certainly the greatest artist of our epoch'. He was the first of the Impressionist group to achieve recognition and his reputation as one of the giants of 19th-century art has endured undiminished. His influence on 20th-century art has been rich and varied-on artists whom he knew personally, such as Sickert, and on later admirers. He was a superlative draughtsman and his work has appealed greatly to other outstanding draughtsmen, such as Hockney and Picasso. His mastery of pastel has been an inspiration to Kitaj.
Chilvers, Osborne, and Farr, The Oxford Dictionary of Art, Oxford University Press, Oxford, New York, 1997. p. 154