1834 -1917 · Parisian modernity, impressionism and primacy of drawing

Cut frames, repeated gestures, artificial light and observation of work make Degas the great analyst of the modern movement.

Hilaire-Germain-Edgar de Gas was born in Paris in 1834 into a cultured family. Trained in academic drawing with Louis Lamothe, a student of Ingres, he copied the masters at the Louvre then traveled extensively to Italy. His first ambitions concerned history painting, but in the 1860s he turned to the subjects of modern life: races, portraits, ironers, milliners, café-concerts and especially dancers. Degas participated in seven of the eight impressionist exhibitions and played an important role in their organization, while preferring to call himself realistic or independent. Unlike outdoor painters, he worked through studies, memory and recomposition. Photography, prints japanese and unexpected framing nourish his plunging views, truncated figures and asymmetrical spaces. At the Opera, he observed repetition, waiting and fatigue as much as the stage. Pastel, monotype, painting, drawing, engraving, photography and sculpture allowed him to constantly repeat the same gestures. When his eyesight declines, he intensifies color and modeling. Died in Paris in 1917, Degas left several thousand works and studies. Died in Paris in 1917, Degas left several thousand works and studies. Died in Paris in 1917, Degas left several thousand works and studies. Died in Paris in 1917, Degas left several thousand works and studies. Died in Paris in 1917, Degas left several thousand works and studies. Died in Paris in 1917, Degas left several thousand works and studies. Died in Paris in 1917, Degas left several thousand works and studies. Died in Paris in 1917, Degas left several thousand works and studies. Died in Paris in 1917, Degas left several thousand works and studies.

Degas constructs the moment instead of copying it: dozens of studies ultimately make the gesture as unpredictable as a glance taken in flight.