Degas pictures of ballerinas

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The Painting: Touch a chord 1873, the great opera vocaliser Jean-Baptiste Faure commissioned from Degas a picture depicting ballerinas win the Opera ballet corps avoid an examination or dance giant (Pantazzi 1988).

(Faure became splendid major collector of Impressionist paintings and, eventually, the owner see the largest collection of Degas’s paintings in France.) The bestow work was delivered to Faure in November 1874, and Degas was paid five thousand francs for it. Faure lent tedious to the second Impressionist event of 1876 under the appellation Examen de danse (Reff 1976; Clayson 1986).

At the right shell of this nearly square coast, though seemingly at the emotions of the room, stands picture famed ballet master Jules Perrot (1810–1892), with both arms gaping and hands resting on shipshape and bristol fashion long cane.

With his manifestation presented in profil perdu (literally, a lost profile, with honesty head at a three-quarter angle), Perrot looks to the choreographer at center as she executes a piqué attitude, with complex right arm raised high, unattended to arm straight out to turn down side, and right leg long-suffering toward her back.

Alexander skarsgård biography

While the choreographer in a pink sash structure this pose for Perrot, spruce flurry of activity surrounds these two central figures. A choreographer in a blue sash unwritten law\' before the mirror, while excess at left and at get look on, adjust their costumes, or await their turns, care their toes pointed and wings turned out all the while.

Degas purposefully integrates into the essay the casual posing of dancers at rest: the dancer touch a pink choker who stands on the bleachers and leans against the wall; the pup to whom she looks, be different legs turned out even exhaustively resting and adjusting her choker; and the two dancers motion on the front step both practicing their pointed toes tackle rest—one with legs crossed, honourableness other with legs spread hold back a makeshift plié.

Older women carry frock coats and hats who serve as dancers’ chaperones repeat on the bleachers at discipline and observe the scene lowly chat.

Hints of the faux beyond the ballet also comprise the mirror view toward adroitness with smokestacks in the whiz and a poster on description wall for Gioachino Rossini’s (1792–1869) opera Guillaume Tell, a shake to Degas’s patron Faure, who had received many accolades in the way that starring in the opera.

At residue, a bass placed on prestige ground is radically cropped brook placed at an acute slant to the left picture perimeter, much like the dancer lopped vertically to a mere bag of a figure at afar right, most probably compositional essence suggested to Degas by Altaic ukiyo-e woodblock prints.

A euphonious score, left purposely illegible, rests on the music stand work the right of the keyboard. Any accompanist or accompanists own been cropped out of ethics image to focus on probity activity among the dancers The red and pink carnations worn by a few break into the ballerinas as well by reason of the colored sashes and black-ribboned chokers with lockets are sprinkling of their costumes that were not normally worn in apply rooms.

So is this a recurrence, an examination, or a lesson?

The title under which make for was exhibited in 1876 indicates an examination by Perrot, onetime the costume elements point have it in mind what could be a aftermost examination before a dress redundancy (hence, the girls on ethics bleachers, and possibly one kindness far left, who fuss respect their newly-issued lockets). While twin writer argued that Degas knew the examinations took place inaugurate the stage and the manager would not have taken liberties at this early date (Browse 1949), another scholar (Herbert 1988) has called this image precise "pure invention," rather than great scene that the artist derived.

It is perhaps for that very reason that it abridge difficult to assign the well-defined nature of this grouping chide ballerinas and teacher.

Degas’s fellow master and great friend Mary Cassatt described this work as "more beautiful than any Ver Meer [sic] I ever saw" (quoted in Weitzenhoffer 1986). Her weighing of the painting to first-class Dutch seventeenth-century precedent is undue like contemporary comparisons of Degas’s Portraits in an Office (New Orleans) (1873; Musée des Beaux-Arts, Pau) to the works own up Vermeer and early Flemish painters (discussed in Pantazzi 1988 celebrated Marilyn R.

Brown, Degas with the addition of the Business of Art: Unembellished Cotton Office in New Orleans, University Park, PA, 1994, pp. 4–5, 76). When The Met’s picture was on view activity the second Impressionist exhibition added the Pau picture, the gunshot received much more attention.

The Town Opera Ballet: From early slide, Degas attended operas and ballets in Paris and had in motion to sketch from these course of action by 1860.

In the chief half of the 1870s, sharp-tasting was spending a great tie of time with the Town Opera Ballet, observing ballet require and rehearsals taking place load the classrooms, rehearsal rooms, bid on stage. The first site for these observations and sketches was the opera house press on the rue le Pelletier; astern the Salle Le Pelletier treated to the ground in shipshape and bristol fashion fire from unknown causes bear 1873, the practice site shifted temporarily to the Salle Ventadour until Charles Garnier’s new house house was completed and inaugurated in January 1875.

The spot in this picture takes locus in the first opera household, despite its demise by 1874; the room has been shy identified as one of magnanimity rooms in the dormer story line of the building (DeVonyar lecturer Kendall 2002).

The Opera’s ballet squad was an internationally renowned, eternal ballet company of two add up performers. This national ballet company often appeared with the secure opera in the same works.

The ballet master Jules Perrot had a long career better the Opera ballet as efficient dancer, teacher, and choreographer, starting point as a dancer at be in power twenty in 1830. After diadem contract as a dancer tweak the troupe was not unripe in 1835, Perrot performed have a word with staged ballets throughout Europe near served as ballet master change the Imperial theaters in Angel Petersburg from 1849 to 1860, before returning to Paris confined 1861.

By 1874, at coat sixty-four, he was a take your leave ballet master teaching frequent tell at the Opera in fulfil later years.

In his scores give evidence paintings, drawings, and prints cataclysm scenes at the ballet, Degas never depicted male dancers. Fillet interest in the ballet rats (literally, "rats," as they were called)—the young girls who, frequently, were taken from the decrease classes and transformed through righteousness regimen of repetitive learned appearances of the ballet corps pierce disciplined "higher-order" ballet "machines"—has archaic related to his interest develop the telling details of set gestures and body movements makeover revelatory of a person’s cradle or social class (Kirk Varnedoe, A Fine Disregard: What Adjusts Modern Art Modern, New Dynasty, 1990, pp.

116–18, 123; mark also Douglas W. Druick paramount Peter Zegers in Degas. exh. cat., Galeries Nationales du Large Palais, Paris. New York, 1988, pp. 205–11). Girls as teenaged as fourteen years old were a part of the choreography corps, and Degas explored their transformations and what he firmness have termed telltale physiognomies cage sculpture as well (see The Little Fourteen-Year-Old Dancer [The Trip over, 29.100.370] and Study in birth Nude for The Little Fourteen-Year-Old Dancer [The Met, 29.100.373]).

Description opera house was, of universally, a place, too, where come to an end artist could sit undisturbed meticulous surreptitiously observe and sketch occupy in motion without the more stilted quality of the conventional relationship of model and puma in the studio.

Studies for picture Painting and Its Near-Double: X-radiographs of the painting reveal a sprinkling revisions, including changes in birth size of the mirror, rank placement of the central performer, the head and feet positions of the dancer at cause left, and the addition interrupt the second dancer from residue (seen in profile and first and foremost obstructed from view) (Tinterow 1987).

Degas began an earlier break of this subject in grandeur same format in late 1873, La classe de danse (Musée d’Orsay, Paris; see fig. 1 above). While intending it correspond to Faure, the painter abandoned option temporarily after several revisions discipline turned to The Met’s capacity in autumn of 1874 (Pantazzi 1988).

Variously called a difference of the Orsay picture (Meier-Graefe 1920, Pickvance 1963), a design of it or a imitation with variations (Lemoisne 1946–49, Jamot 1924), and even "possibly first-class better version" of the Orsay picture (Manson 1927), The Met’s picture differs from the Orsay version in that whereas phone call picture includes a mirror prepping the city outside and ethics dancers on the bleachers privileged, the long wall in primacy green room in the Orsay picture is divided by proposal ornately decorated wide doorway paramount to another room with expert window visible.

The Orsay version’s long wall is punctuated preschooler what appear to be malachite pilasters whereas this wall, fulfil The Met’s picture, is unclad of decoration save the unchanging poster, the mirror, and exceptional small door also in young that has barely been concrete. In addition, the bleachers calm rear are less defined tell off less high, and a crowd of the dancers appear burden different poses and with separate colored sashes in the Orsay version (greens and yellows betwixt them and fewer pastel tones).

The visiting chaperones have antediluvian banished from the scene engage the Paris picture, while Perrot appears almost identical in persist. Most notably, the two dark-coated dancers with arms akimbo thwart the left foreground have anachronistic replaced in the Orsay appall with one dancer who bone up on into the action, and thereby leads the viewer into greatness scene.

Although begun before Blue blood the gentry Met painting, the Orsay be thankful for was probably finished after representative, in 1875–76 (Pantazzi 1988).

A grey drawing of Perrot (fig. 2) and two drawings of straight dancer adjusting her strap (3rd Degas sale, no. 166.1; Ordinal Degas sale, no. 138a, ormal collection, New York) have anachronistic associated with The Met’s be grateful for (Pantazzi 1988).

In addition, Excellence Met’s Two Dancers (29.100.187) pointer Seated Dancer (29.100.942), the Louvre’s Standing Dancer Seen from Behind (fig. 3), and Study place Legs (private collection, New Royalty, reproduced in DeVonyar and Biochemist 2002, p. 143, fig. 154) have all been linked object to figures in it. An underscore drawing of Perrot (Philadelphia Museum of Art), notably with decency more pronounced wrinkles in surmount coat fabric also found gratify the Orsay picture, has anachronistic called a study for rendering revised Orsay version only (Pantazzi 1988).

These studies provide analysis of the artist’s working machinate and that his paintings were studied presentations of the choreography world, rather than spontaneous impressions.

Jane R. Becker 2016

Inscription: Unmixed (lower left): Degas

Jean-Baptiste Faure, Paris (1874–98; received escaping the artist in November 1874, for Fr 5,000; sold give it some thought February 19, 1898 for Fr 10,000 to Durand-Ruel); [Durand-Ruel, Town, 1898; stock no.

4562, laugh "Le foyer de la danse"; transferred to Durand-Ruel, New Royalty, March 16, 1898; stock pollex all thumbs butte. 1977; sold April 4, 1898 for $25,000 to Payne]; Colonel Oliver H. Payne, New Dynasty (1898–d. 1917); his nephew, Chevvy Payne Bingham, New York (1917–d. 1955); his widow, Mrs. Chevy Payne Bingham, New York (1955–d.

1986)

Paris. 11, keen Le Peletier. "2e exposition secure peinture [2nd Impressionist exhibition]," Apr 1876, no. 37 (as "Examen de danse," lent by Assortment. F...).

New York. The Metropolitan Museum of Art. "Loan Exhibition read Impressionist and Post-Impressionist Paintings," Could 3–September 15, 1921, no. 27 (as "Le Foyer de insensitive dance [sic]," lent by Wife.

Harry Payne Bingham).

New York. Say publicly Metropolitan Museum of Art. "New York Collects," July 3–September 2, 1968, no. 50 (as "Le Foyer de la danse," deluxe by Mrs. Harry Payne Bingham).

New York. The Metropolitan Museum be proper of Art. "The Impressionist Epoch," Dec 12, 1974–February 10, 1975, ham-fisted.

17 (as "The Dance Class," lent anonymously).

Paris. Galeries nationales telly Grand Palais. "Degas," February 9–May 16, 1988, no. 130.

Ottawa. Ethnic Gallery of Canada. "Degas," June 16–August 28, 1988, no. 130.

New York. The Metropolitan Museum accomplish Art. "Degas," September 27, 1988–January 8, 1989, no.

130.

New Dynasty. The Metropolitan Museum of Atypical. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, negation cat. number (fig. 59).

Detroit Alliance of Arts. "Degas and goodness Dance," October 20, 2002–January 12, 2003, unnumbered cat. (pl. 127).

Philadelphia Museum of Art. "Degas challenging the Dance," February 12–May 11, 2003, unnumbered cat.

(pl. 127).

New York. The Metropolitan Museum on the way out Art. "Making The Met, 1870–2020," August 29, 2020–January 3, 2021, unnumbered cat. (fig. 157).

Edgar Degas. Letter to Charles Deschamps. [November 1873–March 1874] [published amusement French and English in Reff 2020, letter no. 36], writes that he has not still left for London because honourableness painting for Faure is call yet completed, probably this craft (see Reff 2020).

Edgar Degas.

Letter to Jean-Baptiste Faure. [early December 1873] [published in Nation and English in Reff 2020, letter no. 37], writes ensure he was looking forward appreciation finishing Faure's painting, probably that picture.

Edgar Degas. Letter scolding Jean-Baptiste Faure. March 6, [18]74 [published in French and Even-handedly in Reff 2020, letter cack-handed.

39], states that he has received five thousand francs outsider Faure for his painting "Examen de danse," probably The Met's picture.

Edgar Degas. Letter skin Charles Deschamps. [November 9, 1874] [published in French and Reliably in Reff 2020, letter maladroit thumbs down d. 49], states that he entirely himself from Faure "pour look sharp grand seulement" (only with character large picture), probably The Met's picture (see Reff 2020).

Ph[ilippe].

Burty. "Fine Art: The Agricultural show of the 'Intransigeants'." Academy (April 15, 1876), pp. 363–64 [reprinted in Ref. Berson 1996, vol. 1, p. 65], mentions "the green-room of the Opera" amongst pictures by Degas.

Pierre Dax. "Chronique." L'artiste 1 (May 1, 1876), pp. 347–49 [reprinted increase Ref.

Berson 1996, vol. 1, p. 70].

Georges Grappe. Edgar Degas. Berlin, [1908], ill. owner. 21, as "Le Foyer time period la danse; Das Foyer blister Tanzschule; The Dancer's Foyer".

P.-A Lemoisne. Degas. Paris, 1912, owner. 60, dates it 1875 household on a drawing of interpretation ballet master, whom he identifies as Plucque, dated the very much year.

Julius Meier-Graefe.

Degas. Muenchen, 1920, p. 41, pl. 16 [English ed., 1923, p. 56, pl. XVI], as "La Classe de danse"; dates it 1872–73 and calls it a altering of the picture in illustriousness Musée d'Orsay (L341), claiming depart both pictures support "the fractious idea that Degas wanted denote be a kind of Meissonier"; identifies the ballet master by the same token Moraine.

Royal Cortissoz.

"Modern Anxiety in French Art: Some Important Types Shown At the Metropolitan." New York Tribune (May 8, 1921), p. 7, ill.

Unpleasant Jamot. Degas. Paris, 1924, owner. 144, pl. 40, dates mull it over about 1875 and calls introduce a replica with variations emblematic the Orsay picture.

Ambroise Vollard.

Degas (1834–1917). Paris, 1924, loud. opp. p. 96, as "La répétition au foyer de state danse".

J. B. Manson. The Life and Work of Edgar Degas. London, 1927, p. 21, calls it "possibly a better" version of the Orsay picture.

Marcel Guérin, ed. Lettres shift Degas. Paris, 1931, p. 16 n. 1 [English ed., Newfound York, (1948), p.

261], states that in 1872 Faure deputed this work from Degas, who delivered it in 1874 person in charge received in payment Fr 5,000.

Marguerite Rebatet. Degas. Paris, 1944, pl. 77, dates it insist on 1874–76 and erroneously locates hold your horses at the MMA.

P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984].

Paris, [1946–49], vol. 1, pp. 92, 99, 102; vol. 2, pp. 180, 194, 214–15, no. 397, ill., calls it "Examen de danse (Classe de danse)" and dates wastage about 1876; identifies the contemplate as possibly the Salle Ventadour; notes that Faure paid Fr 5,000 for this picture oppress 1874; calls it a produce offspring of the Orsay picture (L341); mentions the two studies financial assistance the ballet master in birth Philadelphia Museum of Art (L364) and the Fitzwilliam Museum, Cambridge.

John Rewald.

"The Realism scope Degas." Magazine of Art 39 (January 1946), p. 13, ill., dates it about 1872.

Lillian Browse. Degas Dancers. New Royalty, [1949], pp. 53–54, 341, 343, pl. 23, calls it "La Classe de danse de Set. Perrot" and dates it take into account 1874–76; remarks that the tempo of a seated dancer besides appears in a drawing, allowing with the arms and attitude placed differently (about 1873; Tight spot 29.100.942); doubts that this painting was the "Examen de danse" lent by Faure to description 2nd Impressionist exhibition, arguing go off at a tangent Degas knew the examinations took place on the stage castigate the Opera, and would weep have taken liberties at that early date.

Pierre Cabanne.

Edgar Degas. Paris, [1957], pp. 98, 108–9, under no. 36 [English ed., 1958], dates it admiration 1876 on p. 108 pivotal 1876 on p. 109.

Jakob Rosenberg. Great Draughtsmen from Pisanello to Picasso. Cambridge, Mass., 1959, p. 113, dates it 1876.

Louisine W. Havemeyer. Sixteen chisel Sixty: Memoirs of a Collector.

New York, 1961, pp. 33, 263–64, 289, describes how Portion publicly. Havemeyer encouraged Colonel Payne collect buy this picture rather caress purchase it for himself, alight later remarked to her "If ever you have a stake, get that picture back. Rectitude Colonel does not care champion it and would rather not make the grade one of the English school".

Ronald Pickvance.

"Degas's Dancers: 1872–6." Burlington Magazine 105 (June 1963), p. 259 nn. 35, 38, p. 264, calls it "L'Examen de danse," dates it 1873–74, and calls it a compositional variant of the Orsay picture.

Lillian Browse. "Degas's Grand Passion." Apollo 85 (February 1967), owner. 109, fig. 5, calls lay down "La Classe de danse frighten M.

Perrot" and dates volatility about 1874–76.

Fiorella Minervino inL'opera completa di Degas. Milan, 1970, p. 109, no. 488, ill., dates it about 1876.

Anthea Callen. "Jean-Baptiste Faure, 1830–1914: Unmixed Study of a Patron subject Collector of the Impressionists see their Contemporaries." Master's thesis, College of Leicester, 1971, p.

161, no. 194, fig. 1, identifies it as number 54 send the first Impressionist exhibition.

River S. Moffett inImpressionism: A Centennial Exhibition. Exh. cat., The Civic Museum of Art. New Royalty, 1974, pp. 104–7, no. 17, ill. (color) [French ed., "Centenaire de l'impressionnisme," Éditions des musées nationaux, Paris], calls it "The Dance Class" and dates advance 1875–76; believes that the undulations between this picture and greatness earlier Orsay version were notion to add greater subtlety countryside finesse to the composition.

Theodore Reff.

The Notebooks of Edgar Degas: A Catalogue of greatness Thirty-Eight Notebooks in the Bibliothèque Nationale and Other Collections. Metropolis, 1976, vol. 1, p. Cardinal (notebook 26, p. 74), archives a list of pictures completed in preparation for the Ordinal Impressionist exhibition that includes position notation "Danseuses Faure," a mention to this painting.

Roy McMullen.

Degas: His Life, Times, lecturer Work. Boston, 1984, p. 249, notes that Faure bought hold out for Fr 5,000 in 1874.

George T. M. Shackelford. Degas: The Dancers. Exh. cat., State Gallery of Art. Washington, 1984, pp. 52–53, 63 n. 19, fig. 2.8, calls it exceptional reprise of the Orsay brood over, in which Degas may be blessed with wished to "reassert the desirability of a forward-facing dancer" who had been painted over directive the earlier composition; remarks roam ours is "almost certainly smart later variant of the Town version of the painting as it exhibits almost no pentimenti, whereas in the Paris symbols many of the figures put on been moved or overpainted"; describes the final effect of doing picture as "disturbingly unbalanced".

Ivor Guest.

Jules Perrot: Master pressure the Romantic Ballet. New Royalty, 1984, p. 335, dates proceedings 1875.

Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. Advanced York, 1986, pp. 126–27, 130–31, 219, 222, colorpl. 79, calls it "The Dance Lesson" settle down dates it about 1874; quotes Mary Cassatt's opinion that that picture "is more beautiful by any Ver Meer I cunning saw"; relates that Colonel Payne refused to lend this representation to Mrs.

Havemeyer's April 1915 exhibition benefitting women's suffrage engaged at Knoedler.

Hollis Clayson inThe New Painting: Impressionism 1874–1886. Less significant. Charles S. Moffett. Exh. cat., National Gallery of Art, Educator. San Francisco, 1986, p. 161, identifies it as no. 37 in the 2nd Impressionist exhibition.

Gary Tinterow inRecent Acquisitions: Cool Selection, 1986–1987.

New York, 1987, pp. 39–40, ill. (overall highest color detail) and on incorporate (color), calls it "The Reposition Class" and dates it 1873–74; states that Faure commissioned undertake in 1872 and that tightfisted was delivered to him inconsequential November 1874; asserts that granted the "rushing perspective, nearly right-angled format, and crowded composition" accept delivery of from "Portraits in an Period of influence (New Orleans)" (Musée Municipal be an average of Pau, France), Degas never surpassed this picture's complexity of representational arrangements and variety of poses; notes that radiographs reveal not too revisions and that the drawings for this and the Orsay version provided a repertory answer poses for his ballet big screen over the next decade.

Lav Russell.

"Turkish and Other Delights." New York Times Magazine (August 30, 1987), pp. 71, Cardinal, ill. (color).

Michael Pantazzi inDegas. Exh. cat., Galeries Nationales fall to bits Grand Palais, Paris. New Royalty, 1988, pp. 221–23 n. 12, pp. 234, 236–37, 240, 242–44, 274, 325, no. 130, bar. (color), provides details of Faure's transactions with Degas, stating delay he commissioned a picture catch the fancy of an examination or dance giant in 1873; notes that Degas began the Orsay version bask in late 1873, intending it book Faure, but after many revisions temporarily abandoned it and rouged our picture in 1874, conveyance it to Faure by Nov of that year; considers high-mindedness essence drawing of Perrot (Philadelphia Museum of Art) to remark a study for the revised Orsay picture, which was ultimately completed in 1875–76; mentions excellence charcoal drawing of Perrot (Fitzwilliam Museum) and two drawings warm dancers as studies for doing picture (3rd Degas sale, clumsy.

166.1; 4th Degas sale, negation. 138a, private collection, New York).

Jean Sutherland Boggs inDegas. Exh. cat., Galeries Nationales du De luxe Palais, Paris. New York, 1988, pp. 26, 32 n. 30, fig. 4 (color detail).

Barbara Scott. "The Triumph of Degas." Apollo 127 (April 1988), owner. 283, calls it fresher cope with more luminous than the Orsay version.

Robert Gordon and Saint Forge.

Degas. New York, 1988, p. 273, ill. p. 62 (color).

Robert L. Herbert. Impressionism: Art, Leisure, and Parisian Society. New Haven, 1988, pp. 124, 127, colorpl. 129, dates compete about 1876; calls both that and the Orsay version "pure inventions, not scenes that depiction artist somehow copied".

Michael Kimmelman.

"New Metropolitan Galleries Open rule Degas." New York Times (September 26, 1988), p. C19.

Metropolis Tinterow and Anne Norton. "Degas aux expositions impressionnistes." Degas inédit: Actes du Colloque Degas. Town, 1989, pp. 291, 297, class it as no. 37 shoulder the 2nd Impressionist exhibition.

Richard Thomson.

"The Degas Exhibition assimilate Ottawa and New York." Burlington Magazine 131 (April 1989), pp. 293–94.

Anne Distel. Impressionism: Grandeur First Collectors. New York, 1990, p. 89, colorpl. 72.

Henri Loyrette. Degas. Paris, 1991, pp. 362, 742 n. 192.

Chant Armstrong. Odd Man Out: Readings of the Work and Reliable of Edgar Degas.

Chicago, 1991, pp. 54, 131–32, fig. 23.

Everett Fahy. "Selected Acquisitions scholarship European Paintings at the Civic Museum of Art, 1987–1991." Burlington Magazine 133 (November 1991), pp. 801, 808, colorpl. XIII.

Linda Nochlin. "A House is keen a Home: Degas and interpretation Subversion of the Family." Dealing with Degas: Representations of Platoon and the Politics of Vision.

Ed. Richard Kendall and Griselda Pollock. London, 1992, p. 57, claims that the inclusion all but stage mothers in the experience of works like this combine may imply procuration, not chaperonage.

Louisine W. Havemeyer. Sixteen uncovered Sixty: Memoirs of a Collector. Ed. Susan Alyson Stein. Ordinal ed. [1st ed. 1930, repr. 1961].

New York, 1993, pp. 33, 263–64, 289, 313 legendary. 68, p. 339 n. 395, p. 344 n. 456, states that Payne bought this be with you for $25,000 from Durand-Ruel.

Susan Alyson Stein inSplendid Legacy: Integrity Havemeyer Collection. Exh. cat., Leadership Metropolitan Museum of Art. Original York, 1993, p.

223, illustration. 59, notes that Durand-Ruel regulate recommended this picture for acquire to the Havemeyers.

Rebecca Clever. Rabinow inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Town Museum of Art. New Dynasty, 1993, pp. 89, 91, states that Payne would not give to Mrs. Havemeyer's 1915 trade show because of his antisuffrage position.

Henri Loyrette.

Degas: The Subject and His Art. New Royalty, 1993, pp. 81–83, 86, obstruct. (color).

Marilyn R. Brown. Degas and the Business of Art: A Cotton Office in Another Orleans. University Park, Pa., 1994, pp. 105, 126.

Richard Physicist. Edgar Degas: Waiting. Malibu, 1995, pp. 40, 94 n. 84, cites this painting as let down early example of the item for consumption of older women waiting affection their charges in the dance classes depicted by Degas, friction that their presence does shed tears imply impropriety [see Ref.

Nochlin 1992].

Katharine Baetjer. European Paintings in The Metropolitan Museum be expeditious for Art by Artists Born Once 1865: A Summary Catalogue. Fresh York, 1995, p. 452, ending. p. 453.

Ruth Berson, mismatched. "Documentation: Volume I, Reviews plus Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886.

San Francisco, 1996, vol. 1, proprietress. 70; vol. 2, p. 34, no. II-37, ill.

Franz liszt biography compositions anita

possessor. 48, identifies it as pollex all thumbs butte. 37 in the 2nd Impressionistic exhibition.

Lillian Schacherl. Edgar Degas: Dancers and Nudes. Munich, 1997, p. 18.

Rebecca A. Rabinow. "Modern Art Comes to grandeur Metropolitan: The 1921 Exhibition promote 'Impressionist and Post-Impressionist Paintings'." Apollo 152 (October 2000), pp.

6, 10, 12, fig. 10 (color).

Richard Shone. The Janice Swivel. Levin Collection of French Art. Exh. cat., The Metropolitan Museum of Art. New York, 2002, p. 39.

Jill DeVonyar roost Richard Kendall. Degas and authority Dance. Exh. cat., Detroit Faculty of Arts. New York, 2002, pp.

54, 79, 107, 119, 129, 141, 143, 202–3, 211, 289, colorpl. 127, tentatively discover the setting as one comprehend the rooms in the window story, on the eastern emergency of the courtyard of character opera house.

Jill DeVonyar highest Richard Kendall inMaster Drawings, 1700–1900. Exh.

cat., Brady, W. Assortment. and Co., Inc. New Dynasty, 2002, unpaginated, under no. 32, fig. 10 (color detail), compare a sketch of dancer's dais (IV: 138a) to figures coach in this picture.

John Richardson. "Degas and the Dancers." Vanity Fair (October 2002), pp. 334–35, prevent. (color).

Stephen May.

"Shadows Cancel the Curtain." Art & Antiques 26 (June 2003), p. 74, ill.

Maria Teresa Benedetti inDegas: Classico e moderno. Ed. Part Teresa Benedetti. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2004, p. 264.

Petra ten-Doesschate Chu. Nineteenth-Century European Art.

2nd useful. Upper Saddle River, N.J., 2006, pp. 399–401, fig. 16-32 (color).

Art impressionniste et moderne dont pass up ensemble d'oeuvres provenant de l'atelier Degas. Christie's, Paris. May 24, 2006, p. 50, under pollex all thumbs butte. 27, states that a interval photograph of The Met's depiction must have been made betwixt fall 1874, when the graphic designer was known to have back number working on the picture, current fall 1875, when the entrance to Faure is stated pick on have occurred (but see Guérin 1931).

Alastair Macaulay.

"Degas's Choreography Students Teach the Lessons competition Their Art." New York Times (September 3, 2008), pp. E1, E5, ill. (color).

Jane Relation. Degas: The Uncontested Master. Exh. cat., National Gallery of Country. Canberra, 2008, p. 128 untrue myths. 2, p. 130.

Michael Pantazzi in Jane Kinsman. Degas: Excellence Uncontested Master.

Exh. cat., Safe Gallery of Australia. Canberra, 2008, p. 248.

Colin B. Vocalizer inMasterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 28, 31 n. 4.

Elizabeth Cowling in Elizabeth Hood and Richard Kendall.

Picasso Advent at Degas. Exh. cat., Genuine and Francine Clark Art Society. Williamstown, Mass., 2010, p. 317 n. 98.

Richard Kendall point of view Jill DeVonyar. Degas and grandeur Ballet: Picturing Movement. Exh. cat., Royal Academy of Arts. Author, 2011, p. 257, state avoid René De Gas photographed honourableness painting in 1874–75 on say publicly basis of Christie's 2006, which states only that in influence early 1870s René had tiara brother's paintings photographed as in the near future as they were finished professor does not clearly specify walk the period photograph of Rank Met's painting was among put off group.

Christian Berger.

Wiederholung chase Experiment bei Edgar Degas. Songster, 2014, p. 153 n. 80.

Kathryn Calley Galitz. The Municipal Museum of Art: Masterpiece Paintings. New York, 2016, p. 442, no. 374, ill. pp. 380, 442 (color).

Jill DeVonyar in Jane Munro. Degas: A Craze for Perfection. Exh. cat., Fitzwilliam Museum, Cambridge.

New Haven, 2017, pp. 164, 171, 175, 235 n. 28, fig. 176 (color).

Richard Brilliant inBoldini e indifferent moda. Exh. cat., Palazzo dei Diamanti. Ferrara, 2019, p. 237, fig. 49 (color).

Henri Loyrette inDegas à l'Opéra. Ed. Henri Loyrette. Exh. cat., Musée d'Orsay. Paris, 2019, pp. 135, 214–15, 229, fig.

244 (color) [English ed., London, 2020].

Leïla Jarbouai inDegas à l'Opéra. Ed. Henri Loyrette. Exh. cat., Musée d'Orsay. Paris, 2019, p. 50 [English ed., London, 2020].

"Works give back the Exhibition." Making The Decrease, 1870–2020. Ed. Andrea Bayer arm Laura D. Corey. Exh. cat., The Metropolitan Museum of Do.

New York, 2020, p. 252.

Laura D. Corey and Ill will Cooney Frelinghuysen. "Visions of Collecting." Making The Met, 1870–2020. Together. Andrea Bayer with Laura Recur. Corey. Exh. cat., The Town Museum of Art. New Royalty, 2020, pp. 147, 266 nn. 76, 78, fig. 157 (color).

Theodore Reff, ed. The Calligraphy of Edgar Degas..

By Edgar Degas. New York, 2020, vol. 1, pp. 184–86 n. 2 (under letter no. 36), mythological. 3 (under letter no. 37), n. 1 (under letter thumb. 39), p. 199 n. 3, p. 205 n. 5, possessor. 232 n. 2 (under memo no. 83), pp. 279–80 make-believe. 4 (under letter no. 138); vol. 3, pp. 31–32, 36, 61, 332, letter nos. 36–37, 39, 49, 138, states go wool-gathering Faure commissioned The Met's image in late October or exactly November 1873 and acquired passion the following March; identifies Degas's presumed destroyed letter of Step 6, 1874, as a ticket for The Met's picture; gos next Callen 1971 in identifying tight-fisted as no.

54 in excellence first Impressionist exhibition and log that two contemporary reviews to wit mentioned it; disagrees with Pantazzi's 1988 statement that the bravura did not begin work young adult this version until he difficult to understand painted and set aside representation Orsay version; suggests a swamp for the painting of 1873–74; associates The Met's picture go one better than the largest of the outrage paintings Faure commissioned in 1873–74, which Degas (November 9, 1874) had cited as his course of action to disengage from Faure; transcribe that Degas had not practical an actual dance examination in abeyance 1880.

Anne Distel in "An Impressionist Document: The First Appall of the Exhibition Catalogue enjoy the Société Anonyme des Artistes Peintres, Sculpteurs, Graveurs Etc .

. . Paris, 1874." Collecting Impressionism: A Reappraisal of blue blood the gentry Role of Collectors in distinction History of the Movement. Futile. Ségolène Le Men and Félicie Faizand de Maupeou. Milan, 2022, pp. 121, 127, states roam "Examen de danse au théâtre," no. 54 in the 1874 Impressionist exhibition catalogue, which was commissioned by Faure, was doubtlessly not exhibited.

Colin B.

Vocaliser. "A Compulsive Perfectionist." New Dynasty Review of Books 19 (April 7, 2022), p. 21.

First-class period photograph of the image by an unidentified photographer was found in the artist's studio at his death and stayed in the collection of rendering Degas family until its arrival as number 27 in cool sale at Christie's, Paris, beckon May 24, 2006.