Edgar Degas, La Répétition De Danse (The Ballet Practice), c.1888

Created in 1888, Degas collaborated with William Thornley to create a set of fifteen compositions in lithography titled “Quinze lithographies d'après Degas (Fifteen Lithographs After Degas).” La Répétition de Danse, perhaps the most beautiful and dynamic work in the set, was published by Boussod Valadon, Paris and printed by Lemercier at the Bibliothèque Nationale, Paris.   Hand-signed by Edgar Degas (1834-1917) in pencil in the lower left margin with G.W. Thornley’s signature in pencil in the lower right.   Thornley’s red chop stamp (embossed) “WGT” appears next to his signature in the lower right. Pulled from the edition of 25, [there were 100 unsigned impressions with a large block stamp (so the editions cannot be confused)].

A creative pioneer in the medium of printmaking, Degas enjoyed experimenting with printing techniques and composition—making his collaboration with the similarly ingenious Thornley an ideal match. The gentle lines and precise detail of the lithograph is accentuated by the conscientious backing paper chosen by Degas and Thornley. The mild gold brown paper makes the white highlights in the work bright and crisp—creating a heightened sense of realism and life within the work.   

Stunning in tonality and considered one of Degas’ most successful compositions, this image is infused by the ethereal grace inherent to the performing art of ballet.  We look into the ballet studio as quiet observers. Degas has positioned us in the back corner of the informal studio setting, allowing us to study the dancers’ graceful movement, poise, and the playful female banter.

Constructed along an incline, Degas’ use of perspective enhances the presence and positioning of the dancers.  Our eyes are swept across the studio, guided along the row of dancers stretching and chatting—concluding the survey at a large open window.  The light from this large studio window creates marvelous highs and lows within the print, exposing the legs of the ballerinas through their diaphanous ballet skirts. The girls’ faces remain in shadow, creating a sense of anonymity that diverts our attention away from their identity and refocuses interest in the movement and activity of the graceful dancers. Temporally ambiguous, the viewer is left to question if these dancers are stretching in preparation for the evening performance or waiting for the lesson to begin.   

Catalogue Raisonné & COA:
It is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).

   1. Reed, S. W. & Shapiro, B.S. (1984). Edgar Degas: The Painter as Printmaker. Museum of Fine Arts: Boston. Detailed and illustrated as fig. 37 on pgs. lviii – lix.

About the Framing:
Delicate gold scallops undulate rhythmically across the moulding, mimicking the graceful movement of the young ballet dancers. The subtle gold highlights in the natural brown paper are accentuated with the luminous gold moulding. Further, the delightful natural highlights within the lithograph are emphasized with a crisp white, linen-wrapped mat. Custom designed to complement Degas’ beautiful lithograph, this frame includes a matching subtle gold inner fillet and Plexiglas cover.