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DEGAS, Edgar, Scène biblique (Biblical Scene)
French painter, graphic artist, and sculptor, one of the outstanding figures of Impressionism. He exhibited at seven out of the eight impressionist… [Read biography »]
Signed Edgar Degas (1834 - 1917), Pen and brown ink drawing on cream wove paper, Scène biblique (Biblical Scene)  |
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| Artist: | Degas, Edgar (1834 - 1917) |
|---|---|
| Title: | Scène biblique (Biblical Scene) |
| Medium: | Pen and brown ink drawing on cream wove paper |
| Image Size: | 12 1/4 in x 7 3/4 in (31.3 cm x 20 cm) |
| Sheet Size: | 12 1/4 in x 7 3/4 in (31.3 cm x 20 cm) |
| Framed Size: | 34 3/4 in x 30 3/4 in (88.3 cm x 78.1 cm) |
| Signed: | Featuring ink stamp: 'NEPVEU | DEGAS' in black ink, lower right, detailing piece as coming from the collection of Jean Nepveu-Degas, who inherited the work from his parents, Odette de Gas (niece of Edgar Degas) and her husband, Roland Nepveu of Paris |
| Edition: | Unique original drawing |
| Condition: | In very good condition with bold, dark lines throughout |
Price :Item# 2164 | $55,000 To speak directly with the Director, Alex Adelman, please call (510) 777-9970 / 1-800-805-7060. |
| Description: | |
This fascinating glimpse into Edgar Degas’s creative process reveals a meticulous study of figural forms and an experimentation with composition. This appears to be a rough sketch for a possible future work; Degas has visualized his thought process in an elegant and effortless biblical scene. He plays with variants of drapery and architectural schemes, using light and shading to balance with horizon lines and perspective. Not only is it a sketch of the larger composition, but also a study of the organic movements and gestural qualities of each of the subjects in this work. The use of brown ink against a crème-colored wove paper gives it a more personal, earthy quality evoking a deeper connection with the artist and his creative process. According to Dr. Theodore Reff (Columbia University), this figural study is reminiscent of the fine pen strokes and sketched style in brown ink that Degas utilized in many of his sketchbooks during his first trip to Rome. Dr. Reff has further attributed this work to Edgar Degas in a signed statement that will be included with the sale of this piece. The work also includes a label from Shepherd Gallery, NY detailing artist/piece information and exhibition history. PROVENANCE: ~ René de Gas, Paris ~ Odette de Gas & Roland Nepveu, Paris ~ Jean Nepveu-Degas, Paris ~ Shepherd Gallery, New York EXHIBITED: Drawings, Paintings and Sculpture of the 19th Century – Winter Exhibition 1981, Shepherd Gallery, NY. Catalogue Raisonné & COA: 1. Reff, Dr. Theodore. Statement of expertise which attributes this work to the hand of Edgar Degas. Signed and dated, 25 September 2008. 2. A Masterworks Fine Art, Inc. Certificate of Authenticity will accompany this work. About the Framing: | |
Biography of Edgar Degas
Edgar Degas (1834 - 1917)
French painter, graphic artist, and sculptor, one of the outstanding figures of Impressionism. He 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, 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
