Top 100 - The 100 most famous dance paintings
The 100 most famous dance paintings
From Bruegel, Poussin and Watteau to Degas, Renoir, Matisse, Toulouse-Lautrec, Munch and Léger: a hundred paintings to follow the body in movement
This ranking brings together one hundred dance paintings by 49 artists from European, American and Oceanian traditions.
One hundred paintings to follow suit
When the body transforms the space of the painting
The painting fixes a moment, while the dance unfolds over time. To resolve this contradiction, the artists show unstable support, a twist, a still thrown garment, an unfinished round or a repetition of gestures. The viewer mentally reconstructs what precedes and what will follow.
To paint the dance is to fix a moment without immobilizing one's momentum: the gesture must seem to come from before the image and continue after it.Switch to images
Classification in images
Renoir, Matisse, Toulouse-Lautrec, Degas, Munch, Bruegel, Manet, Van Gogh and Poussin open the route with the most recognized scenes.
#1
Galette mill ball
In row 1, "Bal du moulin de la Galette" by Pierre-Auguste Renoir belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#2
The dance
In rank 2, "La Danse" by Henri Matisse belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the stage has become a lasting landmark in the history of art and ball modern to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#3
Dance at the Moulin Rouge
In row 3, "La Danse au Moulin-Rouge" by Henri de Toulouse-Lautrec belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#4
Dance in Bougival
In row 4, "La Danse à Bougival" by Pierre-Auguste Renoir belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark of history from art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#5
The Dance Class
At rank 5, "The Dance Class" by Edgar Degas belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark in the history of art, of modern ball with collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#6
The Dance of Life
In rank 6, "The Dance of Life" by Edvard Munch belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark in the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#7
The Peasants' Dance
In row 7, "The Peasants' Dance" by Pieter Brueghel the Elder belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#8
Masked ball at the Opera
In row 8, "Masked Ball at the Opera" by Édouard Manet belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the stage has become a lasting landmark in the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#9
The Star /Dancer on stage
In rank 9, "The Star/Dancer on Stage" by Edgar Degas belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark of history from art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#10
Dance in the countryside
In rank 10, "Dance in the Country" by Pierre-Auguste Renoir belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark of history from art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#11
Dancing in the city
In row 11, "Dance in the city" by Pierre-Auguste Renoir belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark in the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#12
The Foyer de la danse at the Opera on rue Le Peletier
In row 12, "The Foyer de la danse at the Opéra de la rue Le Peletier" by Edgar Degas belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a landmark enduring in the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#13
The Dance Hall in Arles
In row 13, "La Salle de danse à Arles" by Vincent van Gogh belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark of history from art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#14
The Dance of Human Life
In row 14, "The Dance of Human Life" by Nicolas Poussin belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark of history from art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#15
Spanish dance
At rank 15, "Spanish Dance" by John Singer Sargent belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark in the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#16
The Carmencita
In row 16, "La Carmencita" by John Singer Sargent belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark in the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#17
The Dance of the Nymphs
In row 17, "The Dance of the Nymphs" by Jean-Baptiste Camille Corot belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#18
The Moulin Rouge Ball
In row 18, "Le Bal du Moulin-Rouge" by Jean Béraud belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark in the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#19
Danse
In row 19, "Dance" by Edvard Munch belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the stage has become a lasting landmark in the history of art and ball modern to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#20
Pyrrhic dance
In row 20, "The Pyrrhic Dance" by Lawrence Alma-Tadema belongs to the chapter devoted to the twenty icons of painted dance. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which the scene has become a lasting landmark in the history of art, from the modern ball to the collective rite. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →Degas follows the work of the body before the scene: barre, correction, waiting, fatigue, slipper, balance and collective preparation.
#21
Dance school. The repetition
At row 21, "The dance school. Repetition" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, wait, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#22
Rehearsal at the dance center
In row 22, "Rehearsal at the hearth of dance" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, wait, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#23
Rehearsal of a ballet on stage
In row 23, "Rehearsal of a ballet on stage" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, wait, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#24
The dance lesson
In row 24, "The Dance Lesson" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#25
Dance class
At rank 25, "The Dance Class" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#26
Dancers at the bar
In row 26, "Dancers at the Bar" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#27
Blue dancers
In row 27, "Blue Dancers" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#28
Dancers behind the scenes
At rank 28, "Dancers Behind the Scenes" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#29
Dancers in rehearsal
In row 29, "Dancers in Rehearsal" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#30
Dance exam
At rank 30, "Dance Exam" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#31
Four dancers
In row 31, "Four Dancers" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#32
Dancers' Frieze
At rank 32, "Frieze des Danseurs" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#33
Two dancers on a stage
In row 33, "Two dancers on a stage" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#34
Three dancers in purple tutus
In row 34, "Three dancers in purple tutus" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, wait, correction, fatigue, balance and preparation of the gesture. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#35
Dancer adjusting her slipper
At rank 35, "Danseuse adjusting her slipper" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#36
Dancer with a fan
At rank 36, "Danseuse a fan" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#37
Dancer: red skirt
In row 37, "Dancer: Red Skirt" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#38
dancer in white
At rank 38, "dancer in white" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#39
Dancer in profile
At rank 39, "Danseuse de profile" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#40
Before the ballet
At rank 40, "Before the Ballet" by Edgar Degas belongs to the chapter devoted to ballet, class and repetition. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the work of the body before the scene: bar, waiting, correction, fatigue, balance and preparation of the gesture. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →Watteau, Teniers, Steen, Goya, Rubens, Breton, Corot, Lorrain, Sorolla and Zorn show dance as a social practice and shared tradition.
#41
Venetian dance (Venetian Festivals)
In row 41, "Venetian dance (Venetian Festivals)" by Antoine Watteau belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#42
The Counter-Dance
In row 42, "La Contre-Danse" by Antoine Watteau belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must notably follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#43
Country dancing
At rank 43, "Country dance" by Antoine Watteau belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must notably follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#44
Marriage contract and traditional dance
In row 44, "Marriage contract and traditional dance" by Antoine Watteau belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#45
Dance at the village fair
In row 45, "Dance at the village fair" by David Teniers the Younger belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#46
Village dance with a crowd
In row 46, "Village dance with a crowd" by David Teniers the Younger belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#47
Pipe bagpiper with dancers
In row 47, "Pipefitter with dancers" by David Teniers the Younger belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#48
The egg dance
In row 48, "The Egg Dance" by Jan Steen belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must notably follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#49
The May Dance
In row 49, "The May Dance" by Jan Steen belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#50
Rejoicings in a tavern with a dancing couple
At row 50, "Renjoyments in a tavern with a dancing couple" by Jan Steen belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, space audience, sociability, local tradition and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research for show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#51
Dance on the banks of the Manzanares
In row 51, "Dance on the banks of the Manzanares" by Francisco de Goya belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#52
The villagers' dance
In row 52, "The Dance of the Villagers" by Peter Paul Rubens belongs to the chapter devoted to balls and popular festivals. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#53
Saint John dance in Courrières
In row 53, "Dance of Saint-Jean in Courrières" by Jules Breton belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#54
Dancing under the trees by the lake
In row 54, "Dancing under the trees by the lake" by Jean-Baptiste Camille Corot belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, space audience, sociability, local tradition and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research for show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#55
The villagers dance
At rank 55, "The villagers dance" by Claude Lorrain belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, tradition local and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#56
Landscape with peasant dance
In row 56, "Landscape with Peasant Dance" by Claude Lorrain belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#57
A dance in the countryside
In row 57, "A dance in the countryside" by Giovanni Domenico Tiepolo belongs to the chapter devoted to balls and popular festivals. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#58
Seville, dance
In row 58, "Seville, dance" by Joaquin Sorolla belongs to the chapter devoted to balls and popular festivals. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, tradition local and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#59
Basque festival (dance in El Antiguo, San Sebastian)
In row 59, "Basque festival (dance in El Antiguo, San Sebastian)" by Darío de Regoyos belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, space audience, sociability, local tradition and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research for show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#60
Transferred to Riksdag: Dance in Gopsmor
At rank 60, "Transferred to the Riksdag: Dance in Gopsmor" by Anders Zorn belongs to the chapter devoted to balls and popular festivals. Dance really controls the composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the relationship between music, group, public space, sociability, local tradition and circulation of partners. Support, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →Boucher, Bouguereau, Leighton, Corot, Böcklin, Siemiradzki, Gleyre, Poynter and Gérôme transform dance into ceremony or ideal.
#61
Music and dance
In row 61, "Music and dance" by François Boucher belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#62
The dance
In row 62, "La Danse" by Bouguereau belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, story ancient or academic ideal. Supports, arms, lines of force, costumes, looks and distances between figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#63
The dance
In row 63, "La Danse" by Charles Meynier belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, story ancient or academic ideal. Supports, arms, lines of force, costumes, looks and distances between figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#64
The dance
In row 64, "The Dance" by Frederic Leighton belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#65
The dance
At rank 65, "La danse" by Henri Fantin-Latour belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#66
The dance
In row 66, "La Danse" by André Derain belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, story ancient or academic ideal. Supports, arms, lines of force, costumes, looks and distances between figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#67
The dance
In row 67, "La Danse" by Fernand Léger belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, story ancient or academic ideal. Supports, arms, lines of force, costumes, looks and distances between figures make perceptible a tempo, music and duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#68
The Cupid dance
In row 68, "The Dance of the Cupids" by Francesco Albani belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#69
The nymph's dance
In row 69, "The dance of the nymph" by Jean-Baptiste Camille Corot belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, harmony cosmic, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#70
Virgilian dances
At rank 70, "Virgilian Dances" by Jean-Baptiste Camille Corot belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, harmony cosmic, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#71
The Dance of the Shepherdesses. Memory of Arleux
In row 71, "The Dance of the Shepherdesses. Souvenir of Arleux" by Jean-Baptiste Camille Corot belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research for show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#72
In the evening - The dance of the nymphs
In row 72, "The evening - The dance of the nymphs" by Jean-Baptiste Camille Corot belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#73
Pan dance with the children
In row 73, "Pan Dance with Children" by Arnold Böcklin belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, harmony cosmic, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#74
Dance among swords
In rank 74, "Dance among the Swords" by Henryk Siemiradzki belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#75
The Dance of the Bacchantes
In row 75, "The Dance of the Bacchantes" by Charles Gleyre belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#76
The Ionian Dance
In row 76, "The Ionian Dance" by Edward Poynter belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#77
Dance of Almeh
In row 77, "Dance of the Almeh" by Jean-Léon Gérôme belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#78
Almeh performing the sword dance
In row 78, "Almeh performing the sword dance" by Jean-Léon Gérôme belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, harmony cosmic, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#79
After the dance
In row 79, "After the Dance" by John William Waterhouse belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#80
Egg dance
At rank 80, "Egg Dance" by John Collier belongs to the chapter devoted to myths, nymphs and allegories. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the transformation of the dance movement into ceremony, cosmic harmony, seduction, ancient story or academic ideal. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →Gauguin, Munch, Klimt, Bonnard, Léger, Van Doesburg, Schlemmer, Gleizes, Metzinger, Ensor, Klee and Matisse fragment and reconstruct the movement.
#81
Upa upa, The Dance of Fire
In row 81, "Upa upa, La Danse de feu" by Paul Gauguin belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#82
Dance near the sea
In row 82, "Dance near the sea" by Edvard Munch belongs to the chapter devoted to modern rhythms. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#83
Dancing on the beach (Frise Linde)
In row 83, "Dancing on the Beach (Frise Linde)" by Edvard Munch belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#84
The dancer
In row 84, "The Dancer" by Gustav Klimt belongs to the chapter devoted to modern rhythms. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body into the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#85
Dancers
In row 85, "Dancers" by Pierre Bonnard belongs to the chapter devoted to modern rhythms. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body into the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives shape pictorial to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#86
Two dancers
In row 86, "Two dancers" by Fernand Léger belongs to the chapter devoted to modern rhythms. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#87
The dancers with the keys
At rank 87, "The dancers with the keys" by Fernand Léger belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#88
Dancers
At rank 88, "Dancers" by Theo van Doesburg belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#89
Rhythm of a Russian dance
In row 89, "Rhythm of a Russian Dance" by Theo van Doesburg belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#90
Dancer (The Gesture)
At rank 90, "Danseuse (The Gesture)" by Oskar Schlemmer belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#91
Spanish dancer
At rank 91, "Spanish Dancer" by Albert Gleizes belongs to the chapter devoted to modern rhythms. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#92
Dancer at the cafe
At rank 92, "Danseuse au café" by Jean Metzinger belongs to the chapter devoted to modern rhythms. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#93
Dynamics of a dancer
In row 93, "Dynamics of a Dancer" by Jules Schmalzigaug belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The ranking brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#94
Dynamic feeling of dance
In row 94, "Dynamic Sensation of Dance" by Jules Schmalzigaug belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#95
Dance of the Fauns
At rank 95, "Dance of the Fauns" by James Ensor belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form with movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#96
The Dance in the Clearing
At rank 96, "The Dance in the Clearing" by James Ensor belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#97
Dance of the Moth
At rank 97, "Dance of the Moth" by Paul Klee belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize the bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#98
Dance You Monster to My Soft Song!
At rank 98, "Dance You Monster to My Soft Song!" by Paul Klee belongs to the chapter devoted to modern rhythms. Dance really controls composition: steps, rounds, couples, ballet, parties, rites or stylized movements organize bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#99
Capucines at La Danse I
In row 99, "Capucines à La Danse I" by Henri Matisse belongs to the chapter devoted to modern rhythms. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each era gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →
#100
The Moorish Dance
At rank 100, "La Danse mauresque" by Henri de Toulouse-Lautrec belongs to the chapter devoted to modern rhythms. Dance really controls composition: step, round, couple, ballet, party, rite or stylized movement organizes bodies and does not remain a secondary anecdote. The gaze must in particular follow the way in which color, fragmentation, repetition and geometry transpose the energy of the body in the construction of the painting. Supports, arms, lines of force, costumes, looks and distances between the figures make perceptible a tempo, a music and a duration that the image nevertheless fixes in an instant. The classification brings together ballet scenes, urban balls, village festivals, historical dances, mythological visions and modern research to show how each epoch gives a pictorial form to the movement. Photographs, posters, stand-alone prints, sculptures, portraits with no obvious connection to dance, false lexical results, duplicates and Asian works were excluded.
View product →What the ranking reveals
One hundred paintings, three ways of painting movement
Dance can be studied as work on the body, experienced as a collective ritual or transformed into a plastic rhythm. In each case, the painter organizes a duration within a still image.
Support makes the gesture credible
The weight on a foot, twist, or hanging arm indicates where the movement begins and in which direction it extends.
The group draws a score
Couples, rounds and corps de ballet create repetitions and gaps comparable to the measures and silences of a musical phrase.
The setting defines the dance
Studio, Opera, tavern, tavern, square or landscape distinguish exercise, spectacle, sociability, celebration and rite.
A Western history of painted dance
Five benchmarks to follow the body in motion
The Peasants' Dance transforms the village into a collective space where gestures, music and movement compose a social story.
The Dance of Human Life combines ages, fortune and the passage of time with allegorical choreography.
Its parties use dance, music and travel to organize connections, expectations and looks.
Class, rehearsal, foyer and backstage reveal the work, fatigue and discipline behind the apparent lightness of the stage.
Five bodies, three colors and a continuous movement are enough to make La Danse an icon of modernity.
Dance painted in depth
How does painting give duration to movement?
The painting fixes a moment, while the dance unfolds over time. To resolve this contradiction, the artists show unstable support, a twist, a still thrown garment, an unfinished round or a repetition of gestures. The viewer mentally reconstructs what precedes and what will follow.
In the peasant festivals of Bruegel, Teniers and Steen, dance is a collective practice. Bodies invade the square, the tavern or the path; music, drink and proximity produce a provisional social order. At Poussin, Albani or Corot, the circle becomes on the contrary an instrument of mythological and cosmic harmony.
Watteau transforms the dance step into a gallant conversation. The partners approach, move away and respond to each other in a landscape constructed like a stage. Goya, Rubens, Breton, Lorrain, Sorolla and Zorn then show how dance can identify a community, a territory or a moment of celebration.
Degas watches ballet from the classroom, foyer, backstage and rehearsal. He not only paints spectacular grace: he observes the bar, the fatigue, the fitted slipper, the waiting and the hierarchy of work. Forain and Toulouse-Lautrec extend this attention to the backstage, the admirers and the nocturnal culture of the show.
Renoir, Manet and Toulouse-Lautrec make the ball an emblem of modern life. Matisse reduces the round to five bodies and three colors; Munch transforms dance into an emotional cycle; Léger, Van Doesburg, Schlemmer, Gleizes, Metzinger, Schmalzigaug, Klee and Ensor finally reconstruct the movement through planes, repetitions and contrasts.
Four reading keys
How to look at a dance board
Support, direction, relationship and viewer allow us to understand how a still image produces a sensation of movement.
Identify body weight
Look for the supporting foot, the released leg, the inclination of the torso and the tensions that make the pose momentary.
Extend the lines
Arms, legs, gazes and drapes create trajectories that the eye pursues beyond the figure.
Observe partners
Round, couple or group establish distance, synchronization, hierarchy and sometimes conflict between dancers.
Identify who is watching
The painted audience, the painter's gaze and our own position distinguish training, spectacle, intimate celebration and ceremony.
Paints, products and references
Continue in the Famous Paintings collection
Frequently asked questions
Painted dance without pretense
The essential benchmarks for understanding the classification, its exclusions and the links to reproductions.
How were the hundred tables classified?
The first twenty places bring together the most recognized dance images. The following four chapters organize the route by situation: ballet and rehearsal, popular balls and festivals, myths and allegories, then modern rhythms. Rank guides reading without measuring absolute value.
What's real dance board?
The dance movement must structure the action or composition: step, round, couple, ballet, party, rite or plastic transposition of rhythm. A simple ball gown or portrait of a person with no obvious relationship to dance is not enough.
Why is Degas so present?
Because he studied almost every moment of ballet: class, bar, rehearsal, exam, foyer, backstage and stage. The classification, however, limits his works to a targeted chapter in order to preserve the diversity of eras and artists.
Does the classification only contain paintings?
Yes. The products selected belong to the boutique's pictorial catalog. Photographs, posters, stand-alone prints, sculptures and objects were excluded.
Are popular balls considered dancing?
Yes, when bodies actually dance and their movement organizes the image. Renoir's taverns, Steen and Teniers' taverns or Goya and Breton's festivals show dance as a social practice.
Are there any Asian works?
No. Asian works and results related to Asian dancers were excluded in accordance with the requested scope.
Do the images exactly match the products?
Yes. Each button opens the sheet shown on the card.
0 comments