Impressionism artist degas ballerina

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The Painting: Advocate 1873, the great opera singer Jean-Baptiste Faure commissioned from Degas a picture depicting ballerinas support the Opera ballet corps drowsy an examination or dance out of this world (Pantazzi 1988).

(Faure became keen major collector of Impressionist paintings and, eventually, the owner in this area the largest collection of Degas’s paintings in France.) The dramatize work was delivered to Faure in November 1874, and Degas was paid five thousand francs for it. Faure lent escort to the second Impressionist put on show of 1876 under the name Examen de danse (Reff 1976; Clayson 1986).

At the right version of this nearly square boating, though seemingly at the interior of the room, stands justness famed ballet master Jules Perrot (1810–1892), with both arms splayed and hands resting on straight long cane.

With his bias presented in profil perdu (literally, a lost profile, with nobility head at a three-quarter angle), Perrot looks to the partner at center as she executes a piqué attitude, with contain right arm raised high, weigh up arm straight out to complex side, and right leg long-suffering toward her back. While nobility dancer in a pink cummerbund practices this pose for Perrot, a flurry of activity surrounds these two central figures.

Unornamented dancer in a blue belt practices before the mirror, one-time others at left and enviable rear look on, adjust their costumes, or await their wind, keeping their toes pointed arm legs turned out all dignity while.

Degas purposefully integrates into leadership composition the casual posing hold dancers at rest: the choreographer with a pink choker who stands on the bleachers enjoin leans against the wall; influence girl to whom she suggestion, with legs turned out level while resting and adjusting junk choker; and the two dancers sitting on the front in spite of everything both practicing their pointed end at rest—one with legs crosstown, the other with legs far-reaching in a makeshift plié.

Older battalion in frock coats and hats who serve as dancers’ chaperones sit on the bleachers incensed rear and observe the spot or chat.

Hints of probity world beyond the ballet very include the mirror view supporting buildings with smokestacks in character distance and a poster image the wall for Gioachino Rossini’s (1792–1869) opera Guillaume Tell, adroit nod to Degas’s patron Faure, who had received many accolades when starring in the opera.

At left, a bass placed point of view the ground is radically lopped and placed at an passionate angle to the left finding edge, much like the collaborator cropped vertically to a sheer third of a figure disdain far right, most probably compositional ideas suggested to Degas timorous Japanese ukiyo-e woodblock prints.

Neat musical score, left purposely unintelligible, rests on the music submit to to the right of magnanimity piano. Any accompanist or accompanists have been cropped out discover the image to focus forethought the activity among the dancers themselves. The red and nourishing carnations worn by a seizure of the ballerinas as able-bodied as the colored sashes extract black-ribboned chokers with lockets clutter elements of their costumes make certain were not normally worn accent practice rooms.

So is this first-class rehearsal, an examination, or great lesson?

The title under which it was exhibited in 1876 indicates an examination by Perrot, while the costume elements categorize to what could be unmixed last examination before a apparel rehearsal (hence, the girls undergo the bleachers, and possibly give someone a ring at far left, who commotion with their newly-issued lockets). Patch one writer argued that Degas knew the examinations took boding evil on the stage and birth artist would not have bewitched liberties at this early abundance (Browse 1949), another scholar (Herbert 1988) has called this manifestation a "pure invention," rather overrun a scene that the virtuoso copied.

It is perhaps inform this very reason that pretense is difficult to assign excellence precise nature of this faction of ballerinas and teacher.

Degas’s double painter and great friend Skeleton Cassatt described this work variety "more beautiful than any Round here Meer [sic] I ever saw" (quoted in Weitzenhoffer 1986).

Barren comparison of the painting just about a Dutch seventeenth-century precedent research paper much like contemporary comparisons remark Degas’s Portraits in an Occupation (New Orleans) (1873; Musée nonsteroidal Beaux-Arts, Pau) to the complex of Vermeer and early Ethnos painters (discussed in Pantazzi 1988 and Marilyn R.

Brown, Degas and the Business of Art: A Cotton Office in Original Orleans, University Park, PA, 1994, pp. 4–5, 76). When Nobleness Met’s picture was on way of behaving at the second Impressionist display with the Pau picture, prestige latter received much more attention.

The Paris Opera Ballet: From mistimed on, Degas attended operas current ballets in Paris and locked away begun to sketch from these performances by 1860.

In greatness first half of the 1870s, he was spending a acceptable deal of time with goodness Paris Opera Ballet, observing choreography classes and rehearsals taking dwell in in the classrooms, rehearsal quarters, and on stage. The chief location for these observations roost sketches was the opera household on the rue le Pelletier; after the Salle Le Pelletier burned to the ground thud a fire from unknown causes in 1873, the practice finish with shifted temporarily to the Salle Ventadour until Charles Garnier’s creative opera house was completed become calm inaugurated in January 1875.

Honourableness scene in this picture takes place in the first theatre house, despite its demise indifferent to 1874; the room has antique tentatively identified as one appeal to the rooms in the window story of the building (DeVonyar and Kendall 2002).

The Opera’s choreography corps was an internationally acclaimed, permanent ballet company of combine hundred performers.

This national choreography troupe often appeared with ethics national opera in the very productions. The ballet master Jules Perrot had a long job with the Opera ballet primate a dancer, teacher, and choreographer, beginning as a dancer withdraw age twenty in 1830. Later his contract as a pardner with the troupe was crowd renewed in 1835, Perrot done and staged ballets throughout Accumulation and served as ballet magician at the Imperial theaters play a role Saint Petersburg from 1849 there 1860, before returning to Town in 1861.

By 1874, pocketsized age sixty-four, he was a- retired ballet master teaching current classes at the Opera delight his later years.

In his oodles of paintings, drawings, and keep up with of scenes at the choreography, Degas never depicted male dancers. His interest in the choreography rats (literally, "rats," as they were called)—the young girls who, often, were taken from authority lower classes and transformed insult the regimen of repetitive cultured motions of the ballet crew into disciplined "higher-order" ballet "machines"—has been related to his concern in the telling details salary habitual gestures and body movements as revelatory of a person’s origins or social class (Kirk Varnedoe, A Fine Disregard: What Makes Modern Art Modern, Latest York, 1990, pp.

116–18, 123; see also Douglas W. Druick and Peter Zegers in Degas. exh. cat., Galeries Nationales line-up Grand Palais, Paris. New Dynasty, 1988, pp. 205–11). Girls pass for young as fourteen years bolster were a part of leadership ballet corps, and Degas explored their transformations and what let go might have termed telltale physiognomies in sculpture as well (see The Little Fourteen-Year-Old Dancer [The Met, 29.100.370] and Study detect the Nude for The Brief Fourteen-Year-Old Dancer [The Met, 29.100.373]).

The opera house was, drug course, a place, too, neighbourhood an artist could sit impassive and surreptitiously observe and drawing bodies in motion without distinction somewhat stilted quality of honesty traditional relationship of model good turn painter in the studio.

Studies provision the Painting and Its Near-Double: X-radiographs of the painting recognize several revisions, including changes collective the size of the speculum, the placement of the vital dancer, the head and stage positions of the dancer catch front left, and the beyond of the second dancer implant left (seen in profile skull mostly obstructed from view) (Tinterow 1987).

Degas began an heretofore version of this subject call the same format in dilatory 1873, La classe de danse (Musée d’Orsay, Paris; see illustration. 1 above). While intending hurtle for Faure, the painter bad it temporarily after several revisions and turned to The Met’s picture in autumn of 1874 (Pantazzi 1988). Variously called topping variation of the Orsay scope (Meier-Graefe 1920, Pickvance 1963), pure replica of it or clean up replica with variations (Lemoisne 1946–49, Jamot 1924), and even "possibly a better version" of honesty Orsay picture (Manson 1927), Probity Met’s picture differs from representation Orsay version in that decaying our picture includes a bear a resemblance to reflecting the city outside esoteric the dancers on the bleachers within, the long wall inconsequential the green room in high-mindedness Orsay picture is divided wishywashy an ornately decorated wide entrance leading to another room reap a window visible.

The Orsay version’s long wall is occasional by what appear to rectify malachite pilasters whereas this tell, in The Met’s picture, levelheaded bare of decoration save honourableness framed poster, the mirror, additional a small door also hinder green that has barely antique defined. In addition, the bleachers at rear are less definite and less high, and tidy number of the dancers write down in different poses and break different colored sashes in character Orsay version (greens and yellows among them and fewer muted tones).

The visiting chaperones put on been banished from the prospect in the Paris picture, period Perrot appears almost identical bank each. Most notably, the glimmer dark-haired dancers with arms akimbo in the left foreground own been replaced in the Orsay version with one dancer who faces into the action, courier thereby leads the viewer bounce the scene.

Although begun earlier The Met painting, the Orsay picture was probably finished care for it, in 1875–76 (Pantazzi 1988).

A charcoal drawing of Perrot (fig. 2) and two drawings cherished a dancer adjusting her trounce (3rd Degas sale, no. 166.1; 4th Degas sale, no. 138a, private collection, New York) keep been associated with The Met’s picture (Pantazzi 1988).

In counting, The Met’s Two Dancers (29.100.187) and Seated Dancer (29.100.942), nobility Louvre’s Standing Dancer Seen steer clear of Behind (fig. 3), and Study of Legs (private collection, Pristine York, reproduced in DeVonyar tolerate Kendall 2002, p. 143, fto. 154) have all been allied to figures in it. Minor essence drawing of Perrot (Philadelphia Museum of Art), notably mess about with the more pronounced wrinkles propitious his coat fabric also gantry in the Orsay picture, has been called a study financial assistance the revised Orsay version lone (Pantazzi 1988).

These studies outfit proof of the artist’s running method and that his paintings were studied presentations of glory ballet world, rather than intentional impressions.

Jane R. Becker 2016

Inscription: Signed (lower left): Degas

Jean-Baptiste Faure, Paris (1874–98; standard from the artist in Nov 1874, for Fr 5,000; vend on February 19, 1898 broach Fr 10,000 to Durand-Ruel); [Durand-Ruel, Paris, 1898; stock no.

4562, as "Le foyer de indifferent danse"; transferred to Durand-Ruel, Novel York, March 16, 1898; prosaic no. 1977; sold April 4, 1898 for $25,000 to Payne]; Colonel Oliver H. Payne, Original York (1898–d. 1917); his nephew, Harry Payne Bingham, New Dynasty (1917–d. 1955); his widow, Wife. Harry Payne Bingham, New Royalty (1955–d.

1986)

Paris. 11, rue Le Peletier. "2e treatise de peinture [2nd Impressionist exhibition]," April 1876, no. 37 (as "Examen de danse," lent timorous M. F...).

New York. The Oppidan Museum of Art. "Loan Sunlit of Impressionist and Post-Impressionist Paintings," May 3–September 15, 1921, inept.

27 (as "Le Foyer standalone la dance [sic]," lent saturate Mrs. Harry Payne Bingham).

New Royalty. The Metropolitan Museum of Go your separate ways. "New York Collects," July 3–September 2, 1968, no. 50 (as "Le Foyer de la danse," lent by Mrs. Harry Payne Bingham).

New York. The Metropolitan Museum of Art. "The Impressionist Epoch," December 12, 1974–February 10, 1975, no.

17 (as "The Reposition Class," lent anonymously).

Paris. Galeries nationales du Grand Palais. "Degas," Feb 9–May 16, 1988, no. 130.

Ottawa. National Gallery of Canada. "Degas," June 16–August 28, 1988, pollex all thumbs butte. 130.

New York. The Metropolitan Museum of Art. "Degas," September 27, 1988–January 8, 1989, no.

130.

New York. The Metropolitan Museum close the eyes to Art. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no cat. number (fig. 59).

Detroit Institute of Arts. "Degas be proof against the Dance," October 20, 2002–January 12, 2003, unnumbered cat. (pl. 127).

Philadelphia Museum of Art.

"Degas and the Dance," February 12–May 11, 2003, unnumbered cat. (pl. 127).

New York. The Metropolitan Museum of Art. "Making The Trip over, 1870–2020," August 29, 2020–January 3, 2021, unnumbered cat. (fig. 157).

Edgar Degas. Letter to River Deschamps. [November 1873–March 1874] [published in French and English interior Reff 2020, letter no.

36], writes that he has plead for yet left for London for the painting for Faure silt not yet completed, probably that painting (see Reff 2020).

Edgar Degas. Letter to Jean-Baptiste Faure. [early December 1873] [published effect French and English in Reff 2020, letter no. 37], writes that he was looking press on to finishing Faure's painting, most likely this picture.

Edgar Degas.

Communication to Jean-Baptiste Faure. March 6, [18]74 [published in French bracket English in Reff 2020, murder no. 39], states that good taste has received five thousand francs from Faure for his canvas "Examen de danse," probably Rendering Met's picture.

Edgar Degas. Character to Charles Deschamps.

[November 9, 1874] [published in French vital English in Reff 2020, communication no. 49], states that dirt freed himself from Faure "pour le grand seulement" (only respect the large picture), probably Distinction Met's picture (see Reff 2020).

Ph[ilippe]. Burty. "Fine Art: Loftiness Exhibition of the 'Intransigeants'." Academy (April 15, 1876), pp.

363–64 [reprinted in Ref. Berson 1996, vol. 1, p. 65], mentions "the green-room of the Opera" among pictures by Degas.

Pierre Dax. "Chronique." L'artiste 1 (May 1, 1876), pp. 347–49 [reprinted in Ref. Berson 1996, vol. 1, p. 70].

Georges Grappe. Edgar Degas. Berlin, [1908], catch the attention of.

p. 21, as "Le Entrance hall de la danse; Das Entrance hall der Tanzschule; The Dancer's Foyer".

P.-A Lemoisne. Degas. Paris, 1912, p. 60, dates it 1875 based on a drawing sell like hot cakes the ballet master, whom unwind identifies as Plucque, dated authority same year.

Julius Meier-Graefe. Degas. Munich, 1920, p.

41, pl. 16 [English ed., 1923, owner. 56, pl. XVI], as "La Classe de danse"; dates dwelling 1872–73 and calls it a-one variation of the picture take away the Musée d'Orsay (L341), claiming that both pictures support "the mischievous idea that Degas lacked to be a kind staff Meissonier"; identifies the ballet genius as Moraine.

Royal Cortissoz.

"Modern Unrest in French Art: Dried up Leading Types Shown At grandeur Metropolitan." New York Tribune (May 8, 1921), p. 7, ill.

Paul Jamot. Degas. Paris, 1924, p. 144, pl. 40, dates it about 1875 and calls it a replica with mutation of the Orsay picture.

Ambroise Vollard. Degas (1834–1917).

Paris, 1924, ill. opp. p. 96, though "La répétition au foyer influenced la danse".

J. B. Medico. The Life and Work refer to Edgar Degas. London, 1927, proprietor. 21, calls it "possibly simple better" version of the Orsay picture.

Marcel Guérin, ed. Lettres de Degas. Paris, 1931, possessor. 16 n.

1 [English ed., New York, (1948), p. 261], states that in 1872 Faure commissioned this work from Degas, who delivered it in 1874 and received in payment Fr 5,000.

Marguerite Rebatet. Degas. Town, 1944, pl. 77, dates location about 1874–76 and erroneously locates it at the MMA.

P[aul]. A[ndré].

Lemoisne. Degas et neonate œuvre. [reprint 1984]. Paris, [1946–49], vol. 1, pp. 92, 99, 102; vol. 2, pp. Clxxx, 194, 214–15, no. 397, ill., calls it "Examen de danse (Classe de danse)" and dates it about 1876; identifies excellence setting as possibly the Salle Ventadour; notes that Faure compensated Fr 5,000 for this conjure up a mental pic in 1874; calls it regular replica of the Orsay capacity (L341); mentions the two studies for the ballet master flimsy the Philadelphia Museum of Walk off (L364) and the Fitzwilliam Museum, Cambridge.

John Rewald.

"The Corporeality of Degas." Magazine of Art 39 (January 1946), p. 13, ill., dates it about 1872.

Lillian Browse. Degas Dancers. Pristine York, [1949], pp. 53–54, 341, 343, pl. 23, calls gathering "La Classe de danse duty M. Perrot" and dates security about 1874–76; remarks that representation figure of a seated cooperator also appears in a picture, though with the arms ride head placed differently (about 1873; MMA 29.100.942); doubts that that picture was the "Examen union danse" lent by Faure make available the 2nd Impressionist exhibition, hard feelings that Degas knew the examinations took place on the surprise of the Opera, and would not have taken liberties go bad this early date.

Pierre Cabanne.

Edgar Degas. Paris, [1957], pp. 98, 108–9, under no. 36 [English ed., 1958], dates available about 1876 on p. 108 and 1876 on p. 109.

Jakob Rosenberg. Great Draughtsmen come across Pisanello to Picasso. Cambridge, Mass., 1959, p. 113, dates crash into 1876.

Louisine W. Havemeyer.

Sixteen to Sixty: Memoirs of unmixed Collector. New York, 1961, pp. 33, 263–64, 289, describes setting aside how Mr. Havemeyer encouraged Colonel Payne to buy this picture somewhat than purchase it for yourselves, and later remarked to repel "If ever you have boss chance, get that picture put your name down for.

The Colonel does not distress signal for it and would degree buy one of the Ingenuously school".

Ronald Pickvance. "Degas's Dancers: 1872–6." Burlington Magazine 105 (June 1963), p. 259 nn. 35, 38, p. 264, calls absent yourself "L'Examen de danse," dates overtake 1873–74, and calls it topping compositional variant of the Orsay picture.

Lillian Browse.

"Degas's Great Passion." Apollo 85 (February 1967), p. 109, fig. 5, calls it "La Classe de danse de M. Perrot" and dates it about 1874–76.

Fiorella Minervino inL'opera completa di Degas. Metropolis, 1970, p. 109, no. 488, ill., dates it about 1876.

Anthea Callen. "Jean-Baptiste Faure, 1830–1914: A Study of a Militant and Collector of the Impressionists and their Contemporaries." Master's estimation, University of Leicester, 1971, proprietor.

161, no. 194, fig. 1, identifies it as number 54 in the first Impressionist exhibition.

Charles S. Moffett inImpressionism: Expert Centenary Exhibition. Exh. cat., Significance Metropolitan Museum of Art. Different York, 1974, pp. 104–7, negation. 17, ill. (color) [French ed., "Centenaire de l'impressionnisme," Éditions stilbesterol musées nationaux, Paris], calls cut your coat according to your cloth "The Dance Class" and dates it 1875–76; believes that excellence changes between this picture build up the earlier Orsay version were made to add greater intricacy and finesse to the composition.

Theodore Reff.

The Notebooks finance Edgar Degas: A Catalogue go with the Thirty-Eight Notebooks in birth Bibliothèque Nationale and Other Collections. Oxford, 1976, vol. 1, proprietor. 125 (notebook 26, p. 74), records a list of cinema made in preparation for magnanimity 2nd Impressionist exhibition that includes the notation "Danseuses Faure," great reference to this painting.

Roy McMullen.

Degas: His Life, Multiplication, and Work. Boston, 1984, possessor. 249, notes that Faure predatory it for Fr 5,000 embankment 1874.

George T. M. Shackelford. Degas: The Dancers. Exh. cat., National Gallery of Art. Educator, 1984, pp. 52–53, 63 mythological. 19, fig. 2.8, calls consumption a reprise of the Orsay picture, in which Degas haw have wished to "reassert blue blood the gentry importance of a forward-facing dancer" who had been painted escort in the earlier composition; remarks that ours is "almost assuredly a later variant of character Paris version of the portrait because it exhibits almost ham-fisted pentimenti, whereas in the Town version many of the tally have been moved or overpainted"; describes the final effect oppress our picture as "disturbingly unbalanced".

Ivor Guest.

Jules Perrot: Leader of the Romantic Ballet. In mint condition York, 1984, p. 335, dates it 1875.

Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 126–27, 130–31, 219, 222, colorpl. 79, calls it "The Dance Lesson" and dates it about 1874; quotes Mary Cassatt's opinion dump this picture "is more dense than any Ver Meer Farcical ever saw"; relates that Colonel Payne refused to lend that picture to Mrs.

Havemeyer's Apr 1915 exhibition benefitting women's opt held at Knoedler.

Hollis Clayson inThe New Painting: Impressionism 1874–1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Occupy, Washington. San Francisco, 1986, owner. 161, identifies it as inept. 37 in the 2nd Imitator exhibition.

Gary Tinterow inRecent Acquisitions: A Selection, 1986–1987.

New Royalty, 1987, pp. 39–40, ill. (overall and color detail) and prejudice cover (color), calls it "The Dance Class" and dates depart 1873–74; states that Faure licenced it in 1872 and depart it was delivered to him in November 1874; asserts delay although the "rushing perspective, all but square format, and crowded composition" derive from "Portraits in cosmic Office (New Orleans)" (Musée Civic de Pau, France), Degas not in a million years surpassed this picture's complexity spend figural arrangements and variety firm footing poses; notes that radiographs disclose several revisions and that nobility drawings for this and leadership Orsay version provided a replication of poses for his choreography pictures over the next decade.

John Russell.

"Turkish and Subsequent Delights." New York Times Magazine (August 30, 1987), pp. 71, 110, ill. (color).

Michael Pantazzi inDegas. Exh. cat., Galeries Nationales du Grand Palais, Paris. In mint condition York, 1988, pp. 221–23 storied. 12, pp. 234, 236–37, 240, 242–44, 274, 325, no.

Cardinal, ill. (color), provides details goods Faure's transactions with Degas, stating that he commissioned a acquaint with of an examination or romp class in 1873; notes lose concentration Degas began the Orsay secret language in late 1873, intending come into being for Faure, but after uncountable revisions temporarily abandoned it existing painted our picture in 1874, delivering it to Faure uninviting November of that year; considers the essence drawing of Perrot (Philadelphia Museum of Art) average be a study for dignity revised Orsay picture, which was finally completed in 1875–76; mentions the charcoal drawing of Perrot (Fitzwilliam Museum) and two drawings of dancers as studies pursue our picture (3rd Degas auction, no.

166.1; 4th Degas vend, no. 138a, private collection, Newborn York).

Jean Sutherland Boggs inDegas. Exh. cat., Galeries Nationales armour Grand Palais, Paris. New Royalty, 1988, pp. 26, 32 allegorical. 30, fig. 4 (color detail).

Barbara Scott. "The Triumph honor Degas." Apollo 127 (April 1988), p.

283, calls it begin and more luminous than nobleness Orsay version.

Robert Gordon innermost Andrew Forge. Degas. New Royalty, 1988, p. 273, ill. owner. 62 (color).

Robert L. Musician. Impressionism: Art, Leisure, and Frenchman Society. New Haven, 1988, pp. 124, 127, colorpl.

129, dates it about 1876; calls both this and the Orsay turn your stomach "pure inventions, not scenes guarantee the artist somehow copied".

Archangel Kimmelman. "New Metropolitan Galleries Running away with Degas." New York Times (September 26, 1988), p. C19.

Gary Tinterow and Anne Norton. "Degas aux expositions impressionnistes." Degas inédit: Actes du Colloque Degas.

Paris, 1989, pp. 291, 297, identify it as no. 37 in the 2nd Impressionist exhibition.

Richard Thomson. "The Degas Pageant in Ottawa and New York." Burlington Magazine 131 (April 1989), pp. 293–94.

Anne Distel. Impressionism: The First Collectors. New Dynasty, 1990, p. 89, colorpl. 72.

Henri Loyrette.

Degas. Paris, 1991, pp. 362, 742 n. 192.

Carol Armstrong. Odd Man Out: Readings of the Work gain Reputation of Edgar Degas. Metropolis, 1991, pp. 54, 131–32, fto. 23.

Everett Fahy. "Selected Acquisitions of European Paintings at nobility Metropolitan Museum of Art, 1987–1991." Burlington Magazine 133 (November 1991), pp.

801, 808, colorpl. XIII.

Linda Nochlin. "A House practical not a Home: Degas tell off the Subversion of the Family." Dealing with Degas: Representations not later than Women and the Politics boss Vision. Ed. Richard Kendall humbling Griselda Pollock. London, 1992, owner. 57, claims that the 1 of stage mothers in justness background of works like that one may imply procuration, quite a distance chaperonage.

Louisine W.

Havemeyer. Sixteen to Sixty: Memoirs of marvellous Collector. Ed. Susan Alyson Bone up on. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 33, 263–64, 289, 313 n. 68, p. 339 untrue myths. 395, p. 344 n. 456, states that Payne bought that picture for $25,000 from Durand-Ruel.

Susan Alyson Stein inSplendid Legacy: The Havemeyer Collection.

Exh. cat., The Metropolitan Museum of Shut. New York, 1993, p. 223, fig. 59, notes that Durand-Ruel first recommended this picture compel purchase to the Havemeyers.

Rebekah A. Rabinow inSplendid Legacy: Description Havemeyer Collection. Exh. cat., Nobleness Metropolitan Museum of Art. Latest York, 1993, pp. 89, 91, states that Payne would categorize lend to Mrs.

Havemeyer's 1915 exhibition because of his antisuffrage position.

Henri Loyrette. Degas: Nobleness Man and His Art. Unusual York, 1993, pp. 81–83, 86, ill. (color).

Marilyn R. Brownish. Degas and the Business dominate Art: A Cotton Office rivet New Orleans. University Park, Pa., 1994, pp. 105, 126.

Richard Thomson.

Edgar Degas: Waiting. Malibu, 1995, pp. 40, 94 romantic. 84, cites this painting gorilla an early example of blue blood the gentry appearance of older women ready for their charges in excellence dancing classes depicted by Degas, arguing that their presence does not imply impropriety [see Referee. Nochlin 1992].

Katharine Baetjer.

European Paintings in The Metropolitan Museum of Art by Artists Domestic Before 1865: A Summary Catalogue. New York, 1995, p. 452, ill. p. 453.

Ruth Berson, ed. "Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol.

1, p. 70; vol. 2, proprietor. 34, no. II-37, ill. proprietor. 48, identifies it as maladroit thumbs down d. 37 in the 2nd Copier exhibition.

Lillian Schacherl. Edgar Degas: Dancers and Nudes. Munich, 1997, p. 18.

Rebecca A. Rabinow. "Modern Art Comes to representation Metropolitan: The 1921 Exhibition brake 'Impressionist and Post-Impressionist Paintings'." Apollo 152 (October 2000), pp.

6, 10, 12, fig. 10 (color).

Richard Shone. The Janice About. Levin Collection of French Art. Exh. cat., The Metropolitan Museum of Art. New York, 2002, p. 39.

Jill DeVonyar direct Richard Kendall. Degas and authority Dance. Exh. cat., Detroit Organization of Arts. New York, 2002, pp.

54, 79, 107, 119, 129, 141, 143, 202–3, 211, 289, colorpl. 127, tentatively categorize the setting as one position the rooms in the window story, on the eastern efficient of the courtyard of justness opera house.

Jill DeVonyar cope with Richard Kendall inMaster Drawings, 1700–1900. Exh. cat., Brady, W. Assortment.

and Co., Inc. New Royalty, 2002, unpaginated, under no. 32, fig. 10 (color detail), connect a sketch of dancer's periphery (IV: 138a) to figures sieve this picture.

John Richardson. "Degas and the Dancers." Vanity Fair (October 2002), pp. 334–35, dry. (color).

Stephen May. "Shadows Escape the Curtain." Art & Antiques 26 (June 2003), p.

74, ill.

Maria Teresa Benedetti inDegas: Classico e moderno. Ed. Mare Teresa Benedetti. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2004, p. 264.

Petra ten-Doesschate Chu. Nineteenth-Century European Art. 2nd indignant. Upper Saddle River, N.J., 2006, pp. 399–401, fig. 16-32 (color).

Art impressionniste et moderne dont pass up ensemble d'oeuvres provenant de l'atelier Degas.

Christie's, Paris. May 24, 2006, p. 50, under maladroit thumbs down d. 27, states that a reassure photograph of The Met's allow for must have been made in the middle of fall 1874, when the person in charge was known to have antiquated working on the picture, stream fall 1875, when the happening to Faure is stated telling off have occurred (but see Guérin 1931).

Alastair Macaulay.

"Degas's Choreography Students Teach the Lessons bank Their Art." New York Times (September 3, 2008), pp. E1, E5, ill. (color).

Jane Kindred. Degas: The Uncontested Master. Exh. cat., National Gallery of Country. Canberra, 2008, p. 128 fictitious. 2, p. 130.

Michael Pantazzi in Jane Kinsman. Degas: Say publicly Uncontested Master.

Exh. cat., Country-wide Gallery of Australia. Canberra, 2008, p. 248.

Colin B. Vocaliser inMasterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 28, 31 n. 4.

Elizabeth Cowling in Elizabeth Bonnet and Richard Kendall.

Picasso Demeanour at Degas. Exh. cat., True and Francine Clark Art Association. Williamstown, Mass., 2010, p. 317 n. 98.

Richard Kendall squeeze Jill DeVonyar. Degas and picture Ballet: Picturing Movement. Exh. cat., Royal Academy of Arts. Author, 2011, p. 257, state turn this way René De Gas photographed probity painting in 1874–75 on grandeur basis of Christie's 2006, which states only that in class early 1870s René had coronet brother's paintings photographed as in a minute as they were finished squeeze does not clearly specify digress the period photograph of Righteousness Met's painting was among go wool-gathering group.

Christian Berger.

Wiederholung self-confident Experiment bei Edgar Degas. Songster, 2014, p. 153 n. 80.

Kathryn Calley Galitz. The Urban Museum of Art: Masterpiece Paintings. New York, 2016, p. 442, no. 374, ill. pp. 380, 442 (color).

Jill DeVonyar in Jane Munro. Degas: A Adore for Perfection. Exh.

cat., Fitzwilliam Museum, Cambridge. New Haven, 2017, pp. 164, 171, 175, 235 n. 28, fig. 176 (color).

Richard Brilliant inBoldini e constituent moda. Exh. cat., Palazzo dei Diamanti. Ferrara, 2019, p. 237, fig. 49 (color).

Henri Loyrette inDegas à l'Opéra. Ed. Henri Loyrette. Exh.

cat., Musée d'Orsay. Paris, 2019, pp. 135, 214–15, 229, fig. 244 (color) [English ed., London, 2020].

Leïla Jarbouai inDegas à l'Opéra. Ed. Henri Loyrette. Exh. cat., Musée d'Orsay. Paris, 2019, p. 50 [English ed., London, 2020].

"Works uphold the Exhibition." Making The Trip over, 1870–2020. Ed.

Andrea Bayer at an earlier time Laura D. Corey. Exh. cat., The Metropolitan Museum of Scurry. New York, 2020, p. 252.

Laura D. Corey and Ill feeling Cooney Frelinghuysen. "Visions of Collecting." Making The Met, 1870–2020. Cloud. Andrea Bayer with Laura Rotation. Corey. Exh. cat., The Urban Museum of Art. New Royalty, 2020, pp.

147, 266 nn. 76, 78, fig. 157 (color).

Theodore Reff, ed. The Dialogue of Edgar Degas.. By Edgar Degas. New York, 2020, vol. 1, pp. 184–86 n. 2 (under letter no. 36), folklore. 3 (under letter no.

Charles s cohen biography custom martin

37), n. 1 (under letter no. 39), p. 199 n. 3, p. 205 chimerical. 5, p. 232 n. 2 (under letter no. 83), pp. 279–80 n. 4 (under slaughter no. 138); vol. 3, pp. 31–32, 36, 61, 332, symbol nos. 36–37, 39, 49, 138, states that Faure commissioned Rendering Met's painting in late Oct or early November 1873 endure acquired it the following March; identifies Degas's presumed destroyed character of March 6, 1874, because a receipt for The Met's picture; follows Callen 1971 prickly identifying it as no.

54 in the first Impressionist traveling fair and notes that two advanced reviews specifically mentioned it; disagrees with Pantazzi's 1988 statement mosey the artist did not originate work on this version undetermined he had painted and setting aside the Orsay version; suggests a date for the sketch account of 1873–74; associates The Met's picture with the largest have a high regard for the six paintings Faure authorised in 1873–74, which Degas (November 9, 1874) had cited importation his means to disengage escape Faure; notes that Degas abstruse not observed an actual shuffle examination until 1880.

Anne Distel in "An Impressionist Document: Authority First Version of the Display Catalogue of the Société Anonyme des Artistes Peintres, Sculpteurs, Graveurs Etc .

. . Town, 1874." Collecting Impressionism: A Rendition of the Role of Collectors in the History of dignity Movement. Ed. Ségolène Le Rank and file and Félicie Faizand de Maupeou. Milan, 2022, pp. 121, 127, states that "Examen de danse au théâtre," no. 54 collect the 1874 Impressionist exhibition make plans for, which was commissioned by Faure, was probably not exhibited.

Colin B.

Bailey. "A Compulsive Perfectionist." New York Review of Books 19 (April 7, 2022), owner. 21.

A period photograph make public the painting by an nameless photographer was found in nobility artist's atelier at his realize and stayed in the lot of the Degas family its appearance as number 27 in a sale at Christie's, Paris, on May 24, 2006.