Degas, Edgar - Pink and Green - dancers - art postcard

• Art Postcard

   

• Work of art title:  Pink and Green (one of his dancer paintings)
• Artist (if known):  Edgar Degas (1843-1917)
• Media or other details:   painting
• Publisher / Gallery: Pallas Gallery Ltd, London / Metropolitan Museum of Modern Art, New York, c.1950s
• Postally used:  no
• Stamp & postmark details (if relevant): na
• Size: modern
• Notes & condition details: slight ageing

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.:A281

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NOTE: All postcards are sent in brand new stiffened envelopes which I have bought for the task. These are specially made to protect postcards and you may be able to re-use them. In addition there are other costs to sending so the above charge is not just for the stamp!

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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?n?dg?? d?g?]; born Hilaire-Germain-Edgar De Gas, 19 July 1834 � 27 September 1917), was a French artist famous for his work in painting, sculpture, printmaking and drawing. He is regarded as one of the founders of Impressionism although he rejected the term, and preferred to be called a realist.^[1] A superb draftsman, he is especially identified with the subject of the dance, and over half of his works depict dancers. These display his mastery in the depiction of movement, as do his racecourse subjects and female nudes. His portraits are notable for their psychological complexity and depiction of human isolation.^[2]

Early in 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.

....

By the late 1860s, Degas had shifted from his initial forays into history painting to an original observation of contemporary life. Racecourse scenes provided an opportunity to depict horses and their riders in a modern context. He began to paint women at work, milliners and laundresses. Mlle. Fiocre in the Ballet La Source, exhibited in the Salon of 1868, was his first major work to introduce a subject with which he would become especially identified, dancers.^[28]

In many subsequent paintings dancers were shown backstage or in rehearsal, emphasizing their status as professionals doing a job. From 1870 Degas increasingly painted ballet subjects, partly because they sold well and provided him with needed income after his brother's debts had left the family bankrupt.^[29] Degas began to paint caf� life as well, in works such as L�Absinthe and Singer with a Glove. His paintings often hinted at narrative content in a way that was highly ambiguous; for example, Interior (which has also been called The Rape) has presented a conundrum to art historians in search of a literary source�Th�r�se Raquin has been suggested^[30]�but it may be a depiction of prostitution.^[31]

As his subject matter changed, so, too, did Degas's technique. The dark palette that bore the influence of Dutch painting gave way to the use of vivid colors and bold brushstrokes. Paintings such as Place de la Concorde read as ""snapshots,"" freezing moments of time to portray them accurately, imparting a sense of movement. The lack of color in the 1874 Ballet Rehearsal on Stage and the 1876 The Ballet Instructor can be said to link with his interest in the new technique of photography. The changes to his palette, brushwork, and sense of composition all evidence the influence that both the Impressionist movement and modern photography, with its spontaneous images and off-kilter angles, had on his work.