Degas, Edgar - Camilla Carafa - art postcard

Art Postcard
• Work of art title: Camilla Carafa
• Artist (if known): Edgar Degas
• Media or other details:  painting
• Publisher / Gallery: Tate Gallery, London c.1960s
• Postally used:  no
• Stamp & postmark details (if relevant): na
• Size: modern
• Notes & condition details:

NOTES:

Size: 'Modern' is usually around 6in x 4in / 'Old Standard' is usually around 5 1/2in x 3 1/2in. Larger sizes mentioned, but if you need to know the exact size please ask.

All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly sent through the post. Any faults other than normal ageing are noted.

Stock No.: A732

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Edgar Degas (US /de?'g??/ or UK /'de?g??/; French: [il?? ???m?~ ?dg?? d?g?]; born Hilaire-Germain-Edgar De Gas; 19 July 1834 – 27 September 1917) was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance; more than half of his works depict dancers. He is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist.^[1] He was a superb draftsman, and particularly masterly in depicting movement, as can be seen in his renditions of dancers, racecourse subjects and female nudes. His portraits are notable for their psychological complexity and for their portrayal of human isolation.^[2]

At the beginning of his career, he wanted to be a history painter, a calling for which he was well prepared by his rigorous academic training and close study of classic art. In his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life.^[3]

Degas was born in Paris, France, into a moderately wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, and Augustin De Gas, a banker. His maternal grandfather Germain Musson, was born in Port-Au-Prince, Haiti of French descent and had settled in New Orleans in 1810.^[4] Degas (he adopted this less grandiose spelling of his family name when he became an adult)^[5] began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand. His mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth.

Degas began to paint early in life. By the time he graduated from the Lycée in 1853, at age 18, with a baccalauréat in literature, he had turned a room in his home into an artist's studio. Upon graduating, he registered as a copyist in the Louvre Museum, but his father expected him to go to law school. Degas duly enrolled at the Faculty of Law of the University of Paris, in November 1853, but applied little effort to his studies. In 1855, Degas met Jean Auguste Dominique Ingres, whom he revered, and whose advice he never forgot: ""Draw lines, young man, and still more lines, both from life and from memory, and you will become a good artist.""^[6] In April of that year, Degas was admitted to the École des Beaux-Arts. He studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres.^[7] In July 1856, Degas traveled to Italy, where he would remain for the next three years. In 1858, while staying with his aunt's family in Naples, he made the first studies for his early masterpiece The Bellelli Family. He also drew and painted numerous copies of works by Michelangelo, Raphael, Titian, and other Renaissance artists, but—contrary to conventional practice—he usually selected from an altarpiece a detail that had caught his attention—a secondary figure, or a head which he treated as a portrait.^[8]

Degas is often identified as an Impressionist, an understandable but insufficient description. Impressionism originated in the 1860s and 1870s and grew, in part, from the realism of such painters as Courbet and Corot. The Impressionists painted the realities of the world around them using bright, ""dazzling"" colors, concentrating primarily on the effects of light, and hoping to infuse their scenes with immediacy. They wanted to express what they saw in that exact moment.

Technically, Degas differs from the Impressionists in that he ""never adopted the Impressionist color fleck"",^[24] and he continually belittled their practice of painting en plein air.^[25] ""He was often as anti-impressionist as the critics who reviewed the shows"", according to art historian Carol Armstrong; as Degas himself explained, ""no art was ever less spontaneous than mine. What I do is the result of reflection and of the study of the great masters; of inspiration, spontaneity, temperament, I know nothing.""^[26] Nonetheless, he is described more accurately as an Impressionist than as a member of any other movement. His scenes of Parisian life, his off-center compositions, his experiments with color and form, and his friendship with several key Impressionist artists—most notably Mary Cassatt and Édouard Manet—all relate him intimately to the Impressionist movement.^[27]

Degas's style reflects his deep respect for the old masters (he was an enthusiastic copyist well into middle age)^[28] and his great admiration for Jean Auguste Dominique Ingres and Eugène Delacroix. He was also a collector of Japanese prints, whose compositional principles influenced his work, as did the vigorous realism of popular illustrators such as Daumier and Gavarni. Although famous for horses and dancers, Degas began with conventional historical paintings such as The Daughter of Jephthah (c.1859–61) and The Young Spartans (c.1860–62), in which his gradual progress toward a less idealized treatment of the figure is already apparent. During his early career, Degas also painted portraits of individuals and groups; an example of the latter is The Bellelli Family (c.1858–67), a brilliantly composed and psychologically poignant portrayal of his aunt, her husband, and their children. In this painting, as in The Young Spartans and many later works, Degas was drawn to the tensions present between men and women. In his early paintings, Degas already evidenced the mature style that he would later develop more fully by cropping subjects awkwardly and by choosing unusual viewpoints.

type=printed postcards

theme=artists signed

sub-theme=art

number of items=single

period=1945 - present

postage condition=unposted