With
the major exhibition Edgar Degas: A Strange New Beauty, The Museum of Modern
Art brings new focus to Hilaire-Germain-Edgar Degas’s (French, 1834–1917)
extraordinary and rarely seen monotypes and their impact on his wider practice.
On view March 26 through July 24, 2016, it is the first exhibition in the U.S.
in nearly 50 years to examine these radical, innovative works—and MoMA's first
monographic exhibition of the artist.
Edgar
Degas: A Strange New Beauty features approximately 120 monotypes along with
some 60 related works, including paintings, drawings, pastels, sketchbooks, and
prints. Organized by Jodi Hauptman, Senior Curator, Department of Drawings and
Prints;with Karl Buchberg, Senior Conservator;and Heidi Hirschl, Curatorial
Assistant, Department of Drawings and Prints, The Museum of Modern Art;and
Richard Kendall, independent art historian and curator. MoMA is the sole venue
for the exhibition.
A
towering figure in 19th-century art, Degas is best known as a painter and
chronicler of the ballet. Yet his work as a printmaker reveals the true extent
of his restless creativity, as he mixed techniques with abandon in his studio
and shared recipes with colleagues for producing unconventional effects.
The
monotype process involves drawing in black ink on a metal plate that was then
run through a press, typically resulting in a single print. Captivated by the
medium’s potential, Degas made more than 300 monotypes during two discrete
bursts of activity, from the mid-1870s to the mid-1880s, and again during the
early 1890s. Taking the medium to new and radical ends, Degas abandoned the
academic drawing of his youth, inventing a new repertoire of mark-making that
included wiping, scraping, scratching, fingerprinting, and rendering via
removal. Enigmatic and mutable forms, luminous passages emerging from deep
blackness, and a heightened sense of tactility characterize the resulting
works.
The
freedom Degas found in such techniques is an important theme of the exhibition,
and the presentation links his efforts in monotype—the way he moves the
printer’s ink with ease across the slick metal plate, resulting in a more
liberated form of description—to works in other mediums.
Edgar
Degas: A Strange New Beauty unfolds chronologically, from Degas’s introduction
to monotype in the 1870s through his enthusiastic embrace of the medium. The
exhibition offers a sense of his immersion, discoveries, experiments, and
innovations, and investigates the broader consequences of his engagement with monotype.
Modern
Life
For
Degas, who was always searching for new means to describe new subjects,
monotype proved to be the perfect medium to capture the essential features of
modern urban life.
The exhibition highlights Degas’s views of passers by on city streets, their faces blurred
The exhibition highlights Degas’s views of passers by on city streets, their faces blurred
(Heads of a Man and a Woman, c. 1877–80),
and
bustling street scenes as figures cross paths
(On the Street, 1876–77),
along with signs of the era’s industry
and commerce
(Factory Smoke, 1877–79),
the
repetitive and arduous labor of Ironing Women (c. 1877–79),
and
the costumes of women lingering scandalously solo at cafés
(Young Woman in a Café, c. 1877).
Of
Degas’s urban subjects in monotype, it was the ballet and the café concert that
offered the perfect melding of subject and means. In these works, Degas focused
on fundamental aspects of the modern experience in an era of expanded
entertainment, illumination, and motion. Degas once said that drawing dancers
was just “a pretext for rendering movement,” a pictorial challenge that
monotype gave him the means to address.
While
Degas’s images of the ballet take place on the stage as dancers leap into the
air, as seen in
Pas battu (c. 1879),
they
reflect the velocity and tempo of city life. For late-19th-century urban
dwellers experiencing the advent of 24-hour lighting, the city was always
illuminated—and always in motion.
Degas
used the technical possibilities of the monotype to foreground the lighting of
the ballet and café concert—gaslight and the new electric light. In works like
Dancer Onstage with a Bouquet (c. 1876)
or
Café Singer (c.1877–78),
footlights
transform the performer’s body, catching the translucency of tutus or turning
faces into masks.
In
his café scenes, lighting is endlessly refracted in the theater’s mirrors and
gilded architecture, creating an enchanted spectacle.
In
Backstage at the Ballet
and in the Brothel
and in the Brothel
Degas
used small scale plates to portray the backstage at the ballet and the interiors
of brothels in monotype.
The exhibition includes a group of illustrations for The Cardinal Family, a collection
of stories about theamorous adventures of two young ballerinas, written by Degas’s
friend Ludovic Halévy. Much of the action takes place backstage or in the theater’s
wings, and Degas depicts the flurry and flux of backstage spaces by deploying gestural
marks and smudges to suggest hustle and bustle, reflections in mirrors, and kaleidoscopic
swirls of legs and arms, and by cropping bodies with the plate’s edge to imply motion.
Seen together, these monotypes show Degas’s ever-active eye shifting from long views
to close-ups, focusing on the empty centers of waiting rooms, and pressing close
to the dancers as if taking on the vantage point of their male admirers.
Although
Degas’s illustrations were not used for the book’s initial publication, they demonstrate
that narrative was a springboard for experimentation.
Degas’s
monotypes depicting prostitutes in brothel interiors are also on view in the
exhibition—including several owned by Pablo Picasso—to explore how and why
Degas treated this subject in monotype. For Degas, monotype served this subject
in key ways: his gestural marks convey a space of flux and financial exchange,
and his free brushwork encouraged caricature. The addition of pastel on some
monotypes allowed Degas to further describe these scenes. Degas’s
Two Young Girls
and Waiting for the Client (both c. 1877–79)
portray women sitting unselfconsciously and inelegantly, apparently unconcerned about prospective clients, who in contrast often appear unsure of themselves, apprehensively looking in from the margins.
Two Young Girls
and Waiting for the Client (both c. 1877–79)
portray women sitting unselfconsciously and inelegantly, apparently unconcerned about prospective clients, who in contrast often appear unsure of themselves, apprehensively looking in from the margins.
Degas’s most daring application of monotype is in his depictions of female bathers in intimate settings. In these works, he deploys radical compositional and technical innovation, portraying private acts of washing and grooming and dramatically illuminating bodies and surroundings. Degas contorted these bathers into awkward, unusual, and seemingly impossible poses. Degas’s renderings are tactile, rough, and unresolved, with ambiguous contours blurring distinctions between body and environment.
Degas created these images primarily by subtraction—laying down a curtain of ink on the plate, he drew by removal, conjuring an image out of darkness by wiping the ink away with a process that has come to be known as the “dark-field” technique. Broadening his tool kit, he used brushes with dry, hardened bristles to create striated patterns, a hard-pointed implement to incise into the ink, sponges or cloths to dab or smoothly move the ink around, his hands to sculpt his subjects, his thumb and palm prints to impress texture, and his fingernails for contour, all of which can be seen in The Fireside (c. 1880–85), one of Degas’s largest monotypes. In focusing on how Degas uses monotype, the exhibition calls attention to the way this medium allows the artist to access and express private moments in a deeply visceral way.
Landscapes
After
a hiatus of several years, Degas returned to producing monotypes in 1890.
Followingan excursion though the Burgundy region of France, Degas sought to
capture the experience of the landscape. Using oil paint instead of black
printer’s ink, he created a series of abstract landscapes—exemplified by MoMA’s
Forest in the Mountains (c. 1890)
—that are among the most radical works of their time. Inspired by experience or imagination, these landscapes allude to the natural world or conjure meteorological effects, while undermining any sense of the earth’s solidity and stability.The use of oil paint in monotype was a key innovation, introducing color as well as an element of unpredictability:the fluid paint ran under the pressure of the press, and Degas experimented with rollers, cloths, fingerprints, and coarse wiping.
On top of these washes of color, Degas often added pastel for emphasis—as seen in his
1892 Landscape with Rocks (Paysage avec rochers)
—highlighting particular geologic formations or adding in hedges or trees,resolving his indistinct compositions into landscapes that took familiar and more recognizable form. Degas exhibited a group of these works at a Paris gallery in 1892, where they were enthusiastically received as examples of Symbolism, a trend in art and literature of that time, which rejected the industrialized world and its faith in scientific progress in favor of the fantastic, mystical, and dreamlike.
Forest in the Mountains (c. 1890)
—that are among the most radical works of their time. Inspired by experience or imagination, these landscapes allude to the natural world or conjure meteorological effects, while undermining any sense of the earth’s solidity and stability.The use of oil paint in monotype was a key innovation, introducing color as well as an element of unpredictability:the fluid paint ran under the pressure of the press, and Degas experimented with rollers, cloths, fingerprints, and coarse wiping.
On top of these washes of color, Degas often added pastel for emphasis—as seen in his
1892 Landscape with Rocks (Paysage avec rochers)
—highlighting particular geologic formations or adding in hedges or trees,resolving his indistinct compositions into landscapes that took familiar and more recognizable form. Degas exhibited a group of these works at a Paris gallery in 1892, where they were enthusiastically received as examples of Symbolism, a trend in art and literature of that time, which rejected the industrialized world and its faith in scientific progress in favor of the fantastic, mystical, and dreamlike.
Consequences
The
exhibition shows how Degas’s monotype practice impacted his works in other
mediums. Degas’s experiments with the essential qualities of
monotype—repetition and transformation, mirroring andreversal, tone and
tactility—enriched his working drawing and painting. Understanding that
something singular can spark multiple variations and that an image can always
be reworked, revised,and recrafted, his approach—especially in his last
decades—was characterized by his unceasing pursuit and modification of key
subjects across mediums. Degas traced, inverted, and recombined figures into
different arrangements, applying pastel or charcoal on paper, or layering oil
paint on canvas to further transform his subjects. The resulting chains of
images representing ballerinas and bathers demonstrate how Degas saw iteration
as an end in itself rather than a series of steps toward something final or
finished.
PUBLICATIONS:
The
exhibition is accompanied by a fully illustrated catalogue edited by Jodi
Hauptman, with essays by Carol Armstrong, Jonas Beyer, Kathryn Brown, Karl
Buchberg, Hollis Clayson, Samantha Friedman, Richard Kendall, Laura Neufeld,
Stephanie O’Rourke, Raisa Rexer, and Jill de Vonyar. The publication presents
approximately 120 monotypes alongside related works in other mediums, and
explores the creative potency of Degas's rarely seen monotypes and their impact
on his widerpractice. 224 pages, 230 illustrations. Hardcover.
The exhibition is also accompanied by
a new children’s book, What Degas Saw, written by MoMA assistant curator
Samantha Friedman,with illustrations by Cristina Pieropan and reproductions of
artworks by Degas. The story looks at the world through the artist’s eyes as he
walks through the streets of Paris, and provides insight into his creative
process. What Degas Saw encourages young readers to carefully observe their
surroundings and to create their own art about the people and places around
them. 40 pages, illustrated throughout.
Excellent review with lots of images
Good review
Excellent review with lots of images
Good review
