Edgar Degas, A la Barre (On the Barre), c. 1888-1889

degas on the barre is a lithograph of ballerinas and a violin player in a reddish color.

Signed Edgar Degas Hand-signed original lithograph in reddish ink, A la Barre (On the Barre), c. 1888-1889

Artist:Edgar Degas (1834 - 1917)

Title:A la Barre (On the Barre), c. 1888-1889

Medium:Original lithograph in reddish ink on cream Chine appliqué

Image Size:10 1/2 in x 8 1/8 in (26.5 cm x 20.5 cm)

Sheet Size:10 1/2 in x 8 1/8 in (26.5 cm x 20.5 cm)

Framed Size:approx: 22 1/8 x 19 3/4 in (56.2 cm x 50.2 cm)

Edition:From the edition of 25, printed by Atelier Becquet, Paris and published by Boussod-Valadon, Paris.

Signature: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.

Condition:This work is in excellent condition.

Contact Us:1-800-805-7060

Gallery Price:
Item # 5633
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Historical Description of this artwork

In every way, Degas A la Barre (On the Barre), c. 1888-1889 captures the artist’s signature style. No matter the pose, Degas manages to capture the ethereal grace inherent to the performing art of ballet. In a dazzling sepia tone, this image of ballet dancers at practice is immediately eye catching. Each dancer appears in the middle of practice, with their legs high to the side. Gently drawn lines depict the textures of their tutu skirts. Meanwhile, in the left corner sits a somber man playing the violin. Unlike the delicate quality of the ballerinas, this man is boldly colored to convey his hefty presence. In the background, the white windows give the impression of a sunlit studio. This lithograph is from Quinze lithographies d’après Degas (Fifteen Lithographs After Degas).”, a portfolio created with the collaboration of G.W. Thornley. This work is extremely rare as it is from a special edition of 25 that was hand-signed by both Degas and G.W. Thornley in pencil. This deluxe edition was made before the regular unsigned edition of 100.

Created circa 1888-1889, this original lithograph in reddish ink on cream Chine appliqué 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. From the edition of 25, printed by Atelier Becquet, Paris and published by Boussod-Valadon, Paris.

Catalogue Raisonné & COA:
Degas On the Barre (A la Barre), c. 1888-1889 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 sale of the work).

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

2. A Certificate of Authenticity will accompany this artwork.

About the Framing:
Framed to museum-grade, conservation standards, Degas On the Barre (A la Barre), c. 1888-1889 is presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.

What Do I Get With My Purchase?

The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.

All catalogue raisonné and historical documentation is included with your purchase.

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Why Degas?

Edgar Degas, painter of modern life in 19th century France, depicts dancers in tutus and jockeys mounted on horseback. His oil paintings, sculptures, drawings and prints are celebrated for their realism and for their impressionistic style. Take home a signed Degas lithograph today.

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edgar degas for sale
Edgar Degas (1834-1917)

Edgar Degas Biography

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

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