字體：小 中 大 |
|
|
|
| 2009/08/01 03:52:47瀏覽957｜回應2｜推薦3 | |
by Edgar Degas, 1865, graphite. Collection the Louvre, Paris, France. This early drawing shows Degas's background in classicism. The transformation for a draftsman from drawing tight, detailed forms to looser, more gestural lines is a common one, but these examples show this evolution in to be a particularly natural one. Beauty inhabits both works, even if a typical viewer may not associate both pieces with one artist. "He was trying to pin down the figure in his early drawings," explains Rubenstein, "and in the later drawings, he was setting it loose." Degas' muse was the ballerina, and the motion and movements of dance demanded free, gestural sketches. Rubenstein points out that even in quick sketches such as Study of a Dancer in Tights Degas is showing his genius for composition - the knees nearly touch the edges of the paper, and the negative shapes formed by the dancer's limbs create a powerful design. The beauty of the spontaneous composition betrays the years of experience behind this study. Resources Degas and the Dance, by Jill DeVonyar and Richard Kendall (Harry N. Abrams, New York, New York) Edgar Degas: Life and Work, by Denys Sutton (Rizzoli International Publications, New York, New York)
by Edgar Degas, ca. 1900, black crayon, 23%x 18. Collection National Museum, Belgrade, Serbia. "Notice how Degas put darker lines and thus more emph Sis on the stabilizing leg, and the undersile of the other leg, which is bearing weight," comments Rubenstein.
by Edgar Degas, ca. 1878-4881, chalk and pastel, 46 x 57. Private collection. "Here, Degas is showing a sequence of movementsóhe's trying to keep up with the movement of the dancer's feet. He's trying to understand something," says Rubenstein. "Most elements in the figure are staying the same, but note the other difference besides the feet: With a little shading and a little foreshortening, he has rotated the form." |
|
| ( 在地生活｜北美 ) |
