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Edgar Degas 's works
 Self-Portrait. c.1855
Self-Portrait. c.1855
 Portrait of Achille de Gas in the Uniform of a Cadet. 1856
Portrait of Achille de Gas in the Uniform of ...
 Portrait of Hilaire de Gas, Grandfather of the Artist. 1857
Portrait of Hilaire de Gas, Grandfather of th...
 Roman Beggar Woman. 1857
Roman Beggar Woman. 1857
 Portrait of Marguerite de Gas, the Artist's Sister. 1858-1860
Portrait of Marguerite de Gas, the Artist's S...
 On the Racing Field. 1861
On the Racing Field. 1861
 The Dead Fox. c. 1861
The Dead Fox. c. 1861
 Gentlemen Jockeys before the Start. 1862
Gentlemen Jockeys before the Start. 1862
 Self-Portrait. c.1863
Self-Portrait. c.1863
 Breaking-In. 1860
Breaking-In. 1860
 Portrait of  Th育r豕se de Gas, the Artist's Sister. c.1863
Portrait of Th育r豕se de Gas, the Artist's S...
 Portrait of Monsieur and Madame Edmondo Morbilli. c.1865
Portrait of Monsieur and Madame Edmondo Morbi...
 Woman with Chrysanthemums. 1865
Woman with Chrysanthemums. 1865
 Spartan Girls Challenging Boys. c.1860
Spartan Girls Challenging Boys. c.1860
 Semiramis Building Babylon. 1861
Semiramis Building Babylon. 1861
 The Bellelli Family. 1858
The Bellelli Family. 1858
 The Suffering of the City of New Orleans. 1865
The Suffering of the City of New Orleans. 186...
 Degas and Evariste de Valernes, Painter and a Friend of the Artist. c.1865
Degas and Evariste de Valernes, Painter and a...
 Portrait of Edmondo and Th育r豕se Morbilli. 1865
Portrait of Edmondo and Th育r豕se Morbilli. 1...
 Girl in Red. c. 1866
Girl in Red. c. 1866
 The Collector. 1866
The Collector. 1866
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  • Edgar Degas
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    Biography:
        Edgar Degas (1834-1917) Edgar Degas was born into the family of bankers of aristocratic extraction. His mother died in 1847, so the boy's father, Auguste de Gas, and grandfather, Hilaire de Gas, were the most influential figures in his early life. Despite his own desire to paint he began to study law, but broke off his studies in 1853. He frequented F谷lix Joseph Barrias*s studio and spent his time copying Renaissance works. In 1854-1859 he made several trips to Italy, some of the time visiting relatives, studying the Old Masters; he painted historical pictures and realistic portraits of his relatives: Portrait of Marguerite de Gas, the Artist's Sister. (1858-1860), Portrait of Achille de Gas in the Uniform of a Cadet. (1856-57), Portrait of Hilaire de Gas, Grandfather of the Artist. (1857) 每 87 year-old head of the family. By 1860 Degas had drawn over 700 copies of other works, mainly early Italian Renaissance and French classical art. The most important historical work of the period was Spartan Girls Challenging Boys. (c.1860-62). It was exhibited only in 1879 at the fifth Impressionist show, and he kept it in his studio throughout his life. It was with a historical painting The Suffering of the City of New Orleans. (1865) that Degas made his salon debut in 1865. The picture got little attention. It must have seemed anachronistic and artificial: a medieval landscape setting and naked women bodies were used to symbolize the sufferings of the American city of New Orleans, which was occupied by Union troops in 1862 in the course of the Civil War. The Sufferings... turned out to be his last historical painting. In the troubled post-war years Degas undertook his longest journey. In 1872 with his younger brother Ren谷, he traveled to New York and New Orleans, where his uncle, his mother's brother, Michel Musson, ran a cotton business. Degas stayed in Louisiana for 5 months and returned to Paris in February 1873. In America he fulfilled a number of works. Courtyard of a House in New Orleans. (1872) shows part of the Musson*s home in Esplanade avenue and possibly the room that served Degas a studio during his stay. The most important work resulting from his visit to the USA was Portraits in a New Orleans Cotton office. (1873). After his return from America, Degas had closer contact with dealers such as Durand-Ruel, in an attempt to bring his work to public attention independently of the Salon. In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term ※Impressionism§ unacceptable 每 mainly, perhaps, because he did not share the Impressionists* over-riding interest in landscape and color. He did not care to be tied down to one method of painting. Nonetheless, Degas was to partici....
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