Edgar Degas

DEGAS

BY

CAMILLE MAUCLAIR

•!

THE HYPERION PRESS

S3.00

DEGAS

by

CAMILLE MAUCLAIR

That an artist should be both celebrated and
inadequately known is not very unusual, for
creative originality always retains some of
its secrets. It has been the fate of Degas to
be one of the most greatly admired and most
widely misunderstood artists of his time.
Since his death in 1917, we have, in constant
reexamination of his immense and varied
genius, frequently modified and changed our
opinions, tending steadily towards an in-
creased understanding and respect for this
great French artist.

A superb selection of the work of Edgar
Degas is presented here including his great-
est and best known pictures. The sixteen
reproductions in full color and the forty in
black and white represent a final choice from
hundreds of works of art owned by private
collectors and institutions both here and
abroad.

Camille Mauclair is the author of many
books on art and was formerly the art critic
of Le Figaro in Paris. Thanks to the enthusi-
astic cooperation of such private collectors
and museums as The Art Institute of Chicago,
the (Chester Dale Collection, the Frick Col-
lection, the Lewisohn Collection, the Metro-
politan Museum of Art, the National Gallery
of Art and many others, a new and perma-
nent collection of the works of Degas is
nou published.

Published hy
THE HYPERION PRESS, Inc.

Distributed by
lELL, SLOAN & PEARCE, Inc.
NEW YORK

Priirtrrty r\(

n

The Hilla von Rebay Foundation

DEGAS

SELF PORTRAIT OF THE ARTIST

The Louvre Museum, Paris

1855 Oil 32" X 261/2"

EDGAR

DEGAS

by
CAMILLE MAUCLAIR

yidapted by
LILLIAN DAY

Cola^^'t^-n

Published by

THE HYPERION PRESS

Distributed by

DUELL, SLOAN and PEARCE

NEW YORK

THIS VOLUME,

ONE OF THE HYPERION ART MONOGRAPHS,

WAS EDITED BY AIMEE CRANE

AND PUBLISHED IN MCMXLV FOR

THE HYPERION PRESS

Printed in the United States of America
Copyright 1945 by The Hyperion Press, Inc. New York.

THE DJXCIXC LESSO.X 188U 85 Oil

Collectio)! Mrs. Es/Zwr Eisk(- Htininiond, Snn/n lidthtiiit

14'," X .H-«.,"

DEGAS

by

CAMILLE MA UCLA IR

■tr -\^HA r AN artist

I inadequately

Jt nality seldon

Z' If "S" ^■'" ^^^' artist should be renowned and at the same time
ly known, is not unusual, tor creative origi-
lom reveals its secret. During the twenty-
eight years which have elapsed since the death of Degas,
we have continuously amended our estimates of his character
and the meaning of his work, as w ell as its place in the French
School ot painting. Fundamentally his life was a secret one.
He remained a bachelor and a misanthrope- — if reserving all
his faculties for work, and surrendering comforts and vanities
lor his art, can be interpreted as misanthropy.

Associated with the Impressionists, he was not truly of
their number. He met, at the Cafe Guerbois in ]*aris, with a
group ot painters and novelists who assembled to acclaim
the principles of a new a-stheticism. They were in common
revolt against academic teachings and delusive literary con-
ceptions, and in agreement as to the necessity of being true
to life, each in his fashion. Zola and Manet were the leading
figures in a group that included Monet, Renoir, I.egros,
Pissarro, Fantin-Latour, and many others. The correct,
reserved and sarcastic Degas listened in silence to their mani-
testoes, and fought shy of theories. He was hardly a natural-
ist, in the sense that the word was used, and still less an

Impressionist, when the term was introduced a few years
later. People called him a realist, and he was, in the sense
that he endeavored always to portray truth, but at the same
time he practiced an un-literary, almost abstract art. He
searched everywhere for movement and line. Mere subject
matter interested him less and less, and tor the concept ot
beauty, he substituted that of character.

"No art is less spontaneous than mine, which is wholly
reflective," he declared, and to a painter friend, "Vou need
life in its natural, and I in its artificial form."

Nevertheless, though often opposed to their tendencies,
he exhibited with his friends and had the courage to claim
his share of their castigation and ostracism.

* * *

Edgar Hilaire Germain de Gas was born in Paris, on the
Rue St. George, on June 29, 1834. He detested the name
Kdgar, and disdaining the use of the nobiliary particle, signed
himself just "Degas." His father, bf)rn in Naples, came ot
ancient Breton stock; his mother b^-longcd to the Musson
family, which, several generations before, had emigrated to
New Orleans and amassed a fortune.

He pursued classical studies and even attended courses

at the School of Law, atul then he declared his intention of
becoming an artist. No obstacle whatever was placed in his
way. He devoted himself to his profession without material
cares and entered the Ecole des Beaux Arts in 1855. He was
then a pale young man, his sensitive face framed by soft
brown hair. His deep-set pensive eyes contrasted with his
pouting, sensual lips and determined chin. He was even then
defiant and caustic. Femininity scarcely existed for him, and
while he formed friendships, they never became too intimate.

He made but a brief stay at the Ecole and then studied
with Lamothe, the pupil of Hippolyte Flandrin, who in turn
had been a pupil of Ingres. Then he went to Italy,

In Rome he formed friendships with painters at the \'illa
Medici. He met Georges Bizet and Gustave Moreau, whose
friendship lasted until severed by death. In Tuscany he de-
voted himself to drawing, painting landscapes, and copying
works by masters of the Fourteenth Century. He came
under the influence of Poussin, and more and more under the
spell of the great classicist, Ingres.

On his return to Paris he undertook, simultaneously the
production of historical pictures and the completion of a large
portrait begun in Florence at the house of his uncle, the
Senator Baron Bellelli, depicting him at his home with his
wife and daughters. This work, which remained unknown
until after the artist's death, is severe and frigid. It dissatis-
fied him and he never again undertook a group of similar
(.limensions. Fortunately, however, he did not renounce those
isolated figures which have raised him to the rank of one of
the finest psychological portraitists.

From 1860 to 1865 he devoted himself to historic and
mythological subjects. This confused a generation which
identified him with Impressionism, with dancing girls, and
racing horses. He was seeking the association of lines and the
solution of technical problems. He was admitted to the
Salon, though quietly; the jury appreciated the science of
his draughtsmanship and hoped that he would become a
historical painter.

Suddenly he abandoned the path. Was he disturbed by
the paradox between Ingres, whom he adored, and Delacroix,
whom he admired.'' Was he trying unsuccessfully to conciliate
classicism and romanticism? Or was he coming to the realiza-
tion that he lacked imagination and was destined to express
only what he saw? He wrote nothing and said little about
himself at this time, so we can onlv conjecture.

He possessed his own conception of realism and truth, and
never subscribed to the new dogma, "do nothing save in the
presence of nature and the open air." What influenced him
most in this period of uncertainty was Japanese art. Hoku-
sai's magic line made him glimpse the possibility of uniting
to the Primitives and the Classicists a new expression of
contemporary subjects. He no longer exhibited his works
except on rare occasions at the Durand-Ruel Galleries. He
had no need to sell his pictures for a livelihood, and he held
renown in derision.

In 1872 Degas made a journey to New Orleans to visit
his uncle Musson, and his brothers Achille and Rene who
were wealthy cotton merchants. He depicted them in their
office with the clear precision of a Dutch master.

MADAME JULIE BURTIN
1863 Pencil drawing 143f' x 10^'"
The Fogg Museum of Art, Harvard U?jiversity,
Collection Paul J. Sachs

But his sojourn in America seems to have had no more
influence on his work than his tours in Morocco and Spain,
his Belgian and Dutch excursions, or his visits to Pausilippo,
where his family had a villa. Paris alone captivated him.

"It is only a very long sojourn," he wrote, "which teaches
one the habits of a race; that is to say, its charm. The instan-
taneous, that is photography, nothing else."

He was captivated in Louisiana by the white babies in the
black arms of negresses, by the gardens and the steamboats,
but he did not paint them.

"The women," he wrote to another friend, "are almost all
pretty, and to the charms of many of them is added that ugli-
ness without which they would not be perfect. But I fear
that their heads are as weak as mine ... on your honour,
refrain from repeating what I have told you, that the women
of New Orleans are weak-minded. Refrain from mentioning
it to a soul knowing anyone in these parts. This is a serious
matter. There is no trifling in New Orleans. My death
would not wipe out such an affront."

Around 1865, when Degas was thirty-one, he made his
choice of subjects — the racing and the dancing worlds. He
visited the race-course to satisfy his passion for movement.
He placed his scenes of the turf in true and pleasing land-
scapes, but above all, he strove to fix the mobility of the
animals.

Then he directed his steps to the opera, first of all to the
orchestra, tor he loved music and had many friends among
the instrumentalists. It was natural that when he relin-
quished historical and legendary figures to turn his attcnrion
to the life around him, he shouUl seek his material in the
world of opera and ballet, which he had so often witnessed
from the darkness ot the auditorium. Here he found move-
ment and colour tor his brush. By placing in the foreground,
as a black value against a luminous ground, the scroll ot a
double bass, or the head and shouUlers of a violinist, or by
showing in perspective at the top ot the c;ui\as only the
legs and part of the skirts of the dancers, he aroused in-
dignation, but he achieved an extraordinary refinement of
contrasts.

But soon this picturesqueness no longer satisfied him. A
passion for truth possessed him; he wanted to get to the bot-
tom of things. And then it was that he discovered the human
values of back-stage lite.

It was not the celebrated ami tCted stars that held his
attention, but the poor little girls ot the corps de ballet, the
unknown, the sorrowtul, the anonymous. Girls whose sal-
aries were pititul tor work exceedingly hard; ill-nourished
young bodies, from which an excessive muscular effort was
demanded. Girls who were elegant and graceful as long as the
master beat time, but who reverted to weariness and vulgarity
as soon as the fiddles had ceased.

Degas observed and listened. He made friends w ith these
little girls, who were more eager to find, through their work,
a "gentleman friend" than to secure better roles. He noted
their obscene or naive remarks, as well as their wretched
personal linen; their cast-ofF clothing or worn sandals; their
heavily muscled limbs and flat or prematurely drooping
breasts. In their company he satisfied both his appetite for
truth and his mania for movement. His irony took on a
keener edge, and his heart was filled with pity. He would
have been horrified at the idea of producing literary paintings
— "slices of life" — but he was a man, secretly good and
infinitely sensitive.

Later Forain was in turn to study that little world and
to depict, with mockery, procuresses, dressers, wealthy sub-
scribers — effrontery and vice. Degas, though aware of these
things, abstained from satire. It is difficult to find in his
pictures a stage manager or author who is not there primarily
tor sombre pictorial value. Everything was geometric, plas-
tic and eurythmic, and born of that rigid discipline was a
series of masterpieces.

Sometimes they consist of compositions painted in the
morning light ot a bare rehearsal room, harmonies in bluish
gray or beige, in which an unbound head of hair, or an adorn-
ment of artificial flowers assumes, amid cold tones, a delect-
able and powerful value. We experience a faint recollection
of Vermeer and Watteau through the quiet intimacy and the
supreme distinction of this art. And yet the painter does not
hesitate to reveal the vulgar ugliness of a face, coarse laughter,
or a girl contorting her body to scratch her back. In the
canvases depicting actual performances, however, the miracle
of transformation has taken place. The harmony of gold,
pink, jade and turquoise carries away, amidst a whirlwind of

light and music, the recollection of defects, afflictions and
banalities.

So eager was Degas to remain primarily a painter ami
draughtsman, that he not only refrained from too great a
stress on satirical intention, but, with a few exceptions, he
fought shy of descriptive titles, to the ilismay of those who
drew up his catalogues.

Tlw Riipt', sometimes given the more iliscreet title of .///
Inft'rior, is one of the exceptions, when Degas, against his
principles, was touched by drama. Whether the subject was
an episode from a novel, or purely imaginative, we do not
know, and it iloes not matter. While revealing a strange
tenderness. Degas has raised it to the level of a masterpiece
by the perfection of his technique. Amidst the poetic lights
and shades of the virginal bed-chamber of a little wcjrking
girl, a room softly lit by a lamp near an embroiderer's work-
basket, we find ourselves in the heavy silence following a
brutal struggle, a silence broken by the sobbing of the semi-
nude victim. With his back to the door the man, once more
correct, contemplates her despair. There is here a restrained

!

r

4

\

Wfat

PORTRAIT OF JOSEPH TOURXY

Cincinnati .Irt Museum

1856 Etching

REST TIME

Private Collection

c. 1893 Pastel 20" x 26y^'

pity and sadness which contradicts the general belief in the
artist's insensibility. Other artists might have emphasized
this scene by a lascivious disorder, but Degas' more subtle
sense of drama counselled him to leave the little objects in
their accustomed places. After a few abominable moments
we see nothing amidst these now peaceful surroundings save
a guilty man and a wretched girl.

When devoting himself to the study of nudes he endeav-
ored, even more than in the case of the dancing girls, to seek
no other object than nudity itself. Yet his sensitive nature
could not quite escape the moral pressure of his time, the pres-
sure of naturalism which gruffly disrobeil the woman whom
romanticism had gently clothed. From the ballet girls, with
their familiar defects, he could not pass to insipid models dis-
guised as figures in classic mythology. He sought his subjects
away from the studio platform, in their own dressing rooms.
He knew that a woman shows herself in the state of nudity
only to the man she loves, or to her mirror. Nudism in the
open air was unknown, and we are still far from accepting it.
But in her bathroom a woman's nakedness has a believable
>aiso>i d'etre.

Neither love nor its illusions imposed upon his visual
honesty, which took account of marks left by corsets and lac-
ings, the vulgarity of flesh, the ravages of time. Above all,
he sought the various combinations of the plastic figure,

the unexpected nature of movements where, screened from
all eyes, a woman furbishes her bodv as if it w-ere a
weapon.

In this passion for honesty he was led to be more and more
daring, almost to the point of oddity in his last big pastels
with their jig-saw attitudes. These final works mark a return
to an almost geometric conception of form. Solving new
problems of draughtsmanship, perspective and colour, he
revelled in associating flesh tones, in a subdued lighting, with
objects — dressing gowns, porcelain, glassware- — creating a
wealth of high-lights. Here he succeeded in achieving a
complete coalescence of modelling, value and line, so that his
figures have the density of bronze, and at the same time are
penetrated and haloed by diffused light. This series of nudes,
thanks to a triple mastery of mind, eye and hand, possesses
a unique value.

Degas did not hesitate to enter houses of prostitution to
continue his observations, but in that sphere he produced
only a few satirical monotypes. In an environment where
Toulouse-Lautrec was to disport himself with bravado. Degas
was too enamoured of art in the abstract, and too much the
conservative bourgeois, to be drawn into participation in
social concepts.

Once more the key to the man is found in his choice ot
subjects. Society, with its artifice and convention, had no

more appeal tor him than commercial vice. The working
man did not attract him, nor did he go to the fields to seek
the peasant at his plough. But he found movement and
colour and character nearer home, in his laundresses. The
manner in which they apply weight to their irons, the tired
one who stops to yawn in our faces, the angle at which they
bend to balance their large baskets, all present the problems
in drawing he was so avid to solve. The bluish-white of
starched linen is a fine pretext for rare and subtle harmonies.
Milliners, too, appealed to his fancy and gave him a logical
excuse to present his figures behind a colourful foreground
of hats.

Whether it was a question of a Greek myth, a race-course,
a dancing girl or a nude, his method, his vision, and his syn-
thesis were unvarying. Above all, he was a draughtsman,
limiting himself as a painter to deep colour scales in portrait-
ure, sober ones in landscape. Polychromy made but a weak
appeal to him. He considered that too much sacrifice in the
pursuit of fugitive effects of sunlight was an error, and that
the atmosphere had no need to be "breathable."

In the field of engraving, Degas displayed a curiosity
in the technique that led him to constant experimentation.
His subjects were usually partial replicas of his sketches for
painting, but in the ingenuity of the methods employed we
recognize the patient research of an artist determined to
extract from matter everything it has to give.

When he was about sixty he did a magnificent series of
little evocations of nature in water-colour, oil and pastel,
without a single figure. He wrote to Durand-Ruel:

"You are right, what beautiful country. We take excur-
sions every day and these would end by turning me into a
landscape painter, if my wretched eyes did not refuse to agree
to such a transformation. I am sorry for you in your prison-
like Paris, yet you will see with what serenity I am going to
return there."

And to Pissarro:

"There is no need to compliment you on the artistic qual-
ity of your vegetable gardens. Only, as soon as you feel you
are a little more used to things, try something bigger and more
complete."

He had a few friends to whom he remained faithful all
his life, dining with them rarely, and only upon agreement
that they abandon all ceremony.

"I shall come," he said to Vollard, "at seven-thirty; no
flowers on the table, please, and lock up your cat, and be sure
no one brings a dog. If there are ladies, will they come with-
out perfume? What horrors, all those odours when there are
things which smell so good, like toast . . . and very few lights.
My eyes, my poor eyes!"

And calling on friends who were out he left a note:

"Monsieur Degas, deeply moved, presents his New Year
greetings to Monsieur and Madame Bartholome. He is

obliged to confess that he does not possess a visiting-card and
that, when he finds people are not at home, he writes his name
on the margin of the concierge's newspaper; or an envelope
is handed to him."

His witty remarks gained for him the reputation of being
bitter and caustic, but they were usually inspired by sham or
pretentious mediocrity.

Moreau's predilection to overload his academic nudes
with precious stones drew from Degas, despite his friendship,
the words: "He adorns the Apollo Belvedere with a watch-
chain." And when that same painter affected to live in a
mystic retreat. Degas said, "He is a hermit, but well acquaint-
ed with the time-table."

Of Mcissonier's battle scenes he saitl, "Kverything is irfin
but the cuirasses," and when a slovenly painter was decorated
with the I-t'gion d'honneur and went from cafe to cafe showing
his red ribbon, Degas exclaimed, "Well, that's one more stain
on his person." A picture which he had sold for 500 francs
fetched 400,000 at auction. When the reporters came to
ask his impressions he said, "My impressions are those of a
horse who, having won the Grand Prix, receives his usual bag
of oats." And to a young painter who was boasting of his
material success he said, "In my time, Monsieur, we did not
get on."

We know nothing of Degas' relation to any particular
woman. That there was one in his youth we are led to believe
by some poems of a sentimental nature. It is possible that
this frustrated love-affair aggravated his natural misanthropy.
He remained on friendly relations with his family and his
many acts of kindness to his friends were so furtive that
Forain, Boldini, Mary Cassatt and Zuloaga have carefully
refrained from bearing witness to them.

He worked as long as it was physically possible, until he
was almost blind. Then he turned to the use of vivid colour,
and to modeling. He wandered about the streets of his be-
loved Paris, the image of Homer. Toward the end money
was not plentiful, but his wants were simple. The war of
1914 brought him to the verge of despair, and on September
26, 1917, he died, at the age of eighty-three.

We have not yet reached the time for a complete evalua-
tion of Degas. All we know is that his singular and patient
genius was sustained by the gifts of one of the most marve-
lous draughtsmen ever known, that he was dominated always
by a search for truth, and that with all his audacity, he re-
mained fundamentally a classicist.

As to the man himself, one cannot love him. He did not
ask to be loved. He was bitter, introspective, and lonely
with that mighty solitude which only the great artist, strug-
gling alone with his media, knows. No one devoted himself
to the worship of art more fervently. His cult for it over-
shadowed ambition, honours, money or even human rela-
tionships. Wc cannot help but admire him.

SUGGESTED READING

Anore, a.: Degas, Pastels et Dessins, Paris, Braun, "^o nl. 1934.
Ai.KXANDRE, A.: Degas graveur et lithoijraphe, I.es Arts, No. 171,

1918.
Basi.er et Klnstler: I.a neinture indtpendante en France, t.I,

de Monet a Bonnard, Paris, 1929, in-80.
Bazi.v, (j.: Degas et I'olijecfif, Amour de I'Art, 1931 ; Degas sculp-

teur, Amour de I'Art, 1931.
Benedite, I..: La peinture tran^aise, I'Art et les artistes, 1911;

I.a reorganisation du I.uxemliourg, Revue encyclopediquc,

Aug. 2S, 1S97.
Bkkm l)^, H.: I.es graveurs liu XIX'" siecle, 1886, vol. 5.
BiANHiK, J.-F..: Portrait de Degas, Formes, Feb. 1931. Barthol-

ome et Degas, Art vivant, 19JO. Les arts plastiques sous la

1 11*^ Repui>limie, Paris, Kditions de France, 1931. Propos de

peintres, de David a Degas, Paris, F.miie Paul, 1919.
Bru-o.\, F..: Psychologic d'art, les Maitres de la fin du XIX" siecle,

Paris, 1900.
Charles, F..: Les mots de Degas, Renaissance de Part fran(,ais,

April, 1918.
Chiai.iva: Comment Degas a change sa technique du dessin,

Bulletin -Art I'"ran9ais, 1932.
CoQiioT, (i.: Degas, Paris, Ollendorf, 1924.
CoRTissoz, R.: Personalities in Art.
Davot, a.: F.dgar Degas, La Revue Rhenane.
Delteii., L.: Fdt;ar Degas, Le Peintre-graveur illustre, Paris, 1919.
DiRET, T. : Critic|ue d'avant-garde, Paris, Charpentier, 1885.
DuRAXTV: La nouvelle peinture, Paris, Dentu, 1876.
Faure, F,.: Histoire de I'Art, L'.Art moderne, Paris, 1926.
Feneon, F*.: Les Impressionnistes en 1886, Paris, La Vogue, 1886.
Fosca, v.: Delias, Les albums d'art, Druet, Paris, 1927. Degas,

Paris, Societe des Trente, 1921.
1"ierkns-Ge\aert: Nouveaux essais sur I'art contemporain, Paris,

.Alcan, 1903.
Focii.i.oN, H.: La peinture au XIX*" ct XX" siecle, du Realisme

a nos jours, Paris, 192S.
Gauhix, a.: Degas, utstrallringi, national museum sal fort till-

fiilliga utstliillningar, 23 Jan. 13 Feb., Stockholm, 1920.
Gefkko^',G.: Deg.;s, I'Art et les artists, 1908. Histoire de I'impres-

sionnisme (3rd series of La We Arristique, Paris, Dentu, 1894.
Gi.ASER, Curt: Degas statuaire, Kunst und Kiinstler, 1922.
(lONCOURT, F.. (de): Memoires de la vie litteraire, Paris, Fasquelle,

9 vol.
Grapi'E, G.: Degas, L'Art et le Beau, Paris, 191 1.
GuERix, M.: Remarques sur les portraits de famille peints par

Degas, (Jazette des Beaux-Arts, June, 1928. Dix-neuf portraits

de Degas par lui-meme, Paris, Marcel Guerin, 1931. Note

sur les monotypes de Degas, Amour de I'Art, 1924. Lettres

de Degas, recueiilies et annotees par Guerin, preface de Daniel

Hali\ y, Grasset, 1931.
Heri^, H.: Degas, Paris, Alcan, 1920. Degas, coloriste, .Amour de

r.Art, 1 904.
Hopi'E, R.: Degas, Stockholm, 1922, Fransk Konst.
HoiRru(.>, L.: F.dgar Degas, Art et Decoration, Oct. 191 2.
Hivc.HE, R.: Degas ou la fiction realiste, Amour de I'Art, 1931.
IkvsMAXs, J.-K.: Certains (critique d'art), Paris, Librairie Plon.

I.'art moderne, p. 249, Librarie Plon, Paris.
J \MOT, Pail: F.ditions de la Gazette des Beaux-.Arts, Paris, 1924.

La peinture en France, Paris, 1934. I ne salle Degas au Louvre,

Amour de I'.Art, 1931. Degas, peintre d'assiettes. Gazette des

Beaux-.Arts, 1924.
Jewell & Crane: French Impressionists and their contempo-
raries, N. Y., Hyperion Press, 1944.
KLi.\f;soR,T.: La peinture fran^aise depuis vingt ans, Rieder, 1921.
I.AFORr.LE, J.: (F'uvres completes. III, IMelanges posthumes, Paris,

"/53-

I.ECOMTE, G.: L'art impressionniste, Paris, Chamerot et Renouard,
1892, La crise de la peinture franfaise, L'.Art et les artistes,
1910.

I.AJOM), P.: Degas, Paris, Floury, 2 vol., 1918-19.

Lierkrman.v, Max: Degas, Berlin, 1922, Cassirer.

J.EMOisvE, P.-A.: Degas, I'Art de notre temps, Paris, 1912. Degas,
Paris, 1913, Librairie Centrale des Beaux-.Arts. Les statuettes
de Degas, Art et Decoration, 191 9. Les carnets de Degas au
Cabinet des Fstampes, Gazette des Beaux-.Arts, 1921. Le por-
trait de Degas par lui-meme, Beaux-.Arts, Dec. i, 1927. Degas,
Rev. dc L'Art, June 1924.

Lerov, a.: Histoire de la peinture fran^aise (i 800-1933), son

evolution et ses maitres, Paris, 1934.
MacColi., D.: Nineteenth Century Art, Glasgow, 1902.
Ma.vso.v, J. B.: The Life and Work of F.dgar Degas, London, 1927,

The Studio, Ltd.
Marcel, H.: La peinture fran^aise au XIX^ siecle, Paris, 1905.
Mauclair, C: L'Impressionnisme, son histoire, son esthetique,

ses maitres, Paris, Librairie de I'.Art ancien et moderne, 1903.

Les Maitres de I'lmpressionnisme, Paris, Olleniiorff, 1923.

Degas, Hyperion Press, Paris, 1936. Rev. de I'.Art ancien et

moderne, 1903.
Meier-Graefe, J.: Degas, London, 1923. Ernest Benn, Ltd.

Trans, by J. Holroyd-Reece. Der Moderne Impressionismus,

Berlin, I9O4.
Meli.erio, a.: L'n album de reproductions d'apres les dessins de

M. Degas, I'Fstampe et I'Affiche, 1898. Degas, Revue Artis-

tique, April, 189^1.
MoNCAx, A.: Degas master observer: seen at Philadelphia, The

Art News, 1936.
MuTHER, R.: Historv of Modern Painting, London, 4 vols. 1907.

J. M. Dent ik Co.
Moreal-Nelaton, E.: Deux heures avec Degas, interview post-

hume. Amour de I'.Art, 193 1.
Moore, George: Modern Painting, London, 1893. Confessions

d'un jeune Anglais, Paris, Stock, I92<;. Edgar Degas, The

Magazine of Arts, 1900. Impressions and Opinions. Memories

of Degas, Burlington Magazine, Jan., Feb., 191 8.
Paulson, G.: L'Exposition Degas a Stockholm, Stenmans Kon-

strevy, mai, 1920.
Pica, V.: Edgar Degas, Emporium, decembre, 1907.
PiCENi, E.: Degas, nomo cattivo, Illustrazione italiana, 1932.
Reau, L.: Chapitre de I'Histoire de I'.Art d'.Andre Michel, 1926.
Rey, R.: La peinture fran^aise a la fin du XIX* siecle; la renais-
sance du sentiment classique, Paris. 193 1.
Riviere, H.: Degas, les dessins des grands artistes fran^ais, Paris,

Demotte, 1922-23.
RivuRi, G.: M. Degas, bourgeois de Paris, Floury, 1935.
RoMANELLi, R.: Cezanne et Degas, Belvedere, Jan. 1930.
Rouarte, E.: Degas, Le Point, Feb. 1937, suivi de: Degas, le

realisme et Duranty.
SiCKERT, W.: Degas, Burlington Magazine, Nov. 1917.
Thus, Jens: Norske Malere og Billedhuggere, Bergen, 1904.
A'alery, p.: Revue hebdomadaire, 1920. A propos de Degas,

Mesures et Nouvelle Rev. Fran^aise, Oct. 1935.
VoLLARD, A.: Degas, Paris, 1924. G. Cres et Cie. Conversations

with Degas, The Arts, 1924, Degas, an intimate portrait,

authorized trans, from the French by Randolph T. \Veaver,

N. Y. Greenberg, (cop. 1927. Degas, 120 plates. Artistes

d'hier et d'aujourd'hui). Paris, G. Cres et Cie. En Ecoutant

Cezanne, Degas, Renoir, Paris, 1938, Grasset.
Walker, J.: Degas et les maitres anciens. Gazette des Beaux .Arts,

'933-
Collection, Isaac de Carmondo au Musee du Louvre, Paris,

Gazette des Beaux-.Arts, Bruxelles, Ed. Van Oest, 1914.

AFigeon, Jamot, \'itry, Dreyhis.
Degas: Sedici opere di Degas, No. IV, i series Maestri Moderne,

Firenze, 1914.
Lettres de Degas: Amour de I'.Art, 1931.
Lettres de Degas: Kunst und Kiinstler, 1932.
Letters of Degas: Degas, C. Mauclair, Hyperion Press, Paris,

1936.
French Paintings, 19TH Century: S. Rocheblave, Hyperion

Press, 1936.
Degas: Paris, 1935 (?) Editions Braun.
Exposition Degas: 12 Avr.-2 mai, 1924 Paris, Ed. les Galleries

(Jeorges Petit, intro. par Daniel Halevy, catalogue de Marcel

Guerin.
Exposition Degas: mars-avril, 1937 Paris, intro. par Jamot,

catalogue par Mmes. Bouchot-Saupique et Delaroche-\'ernet.
Exposition Degas: L'Orangerie, Bulletin des Musees de brance,

1931, (P. Vitry).
Degas: Vingt dessins, 18^11-1896, pub. by Boussod Manzi, Joyant

et Cie.

PORTRAIT OF MADKMOISF.LLE DOBIGW

Kmisthalle, Hamburg

18r,9 Panel 14 ' ," x 12 « ,,'

MLLE. FIOCRE IN THE li.lELET OF L.I SOURCE

Courtesy of The Brooklyn Museum^ New York

1866-68 Oil 51jr6"x57i^'

OIL SKETCH FOR YOISG SP^RTASS EXERCISISC c. I860 S'/' x 11"

The Eo^% Museum of Art, Harvard University

MII.I.IXERS

Oil 28>./'x32"

E. Roche, Paris

THE MORNING BATH c. 1883 Pastel on paper 273/' x 17"

The .Irt histitttte of Chicago , Potter Palmer Collection

I ITER rill-: H.rrii

Oil 46'./' X 381^'

Ambro'ise I 'olhirtL Paris

TWO IROXERS

Courtesy of Diirand-Ruel, Paris

1882 Oil 32" X 28

THE DUKE ^ND DUCHESS OF MORBILLI 1855-56 Oil 45 >^" x 35"

National Gallery of Art, IVashington, D. C, Chester Dale Collection {Loan)

TH'O SISTERS c. 1867-68 Oil 40" x 32"

Photo, Courtesy of Paul Rosetil/er^ cs* Co., New York

./r r//K RJCES (CENTLEMEy RIDERS) 1877-1880 Oil 26H" x 32'

T/ir /.outre Mttseum, Paris

STCn)' OF

Dll.Ci) MJRIEI.I.I

Drawing

/'VCs M!i-<fn/n of ./;/,

Iliirvard I ^)iivfrsit\\

Collection Paul 7. Sochs

HEAT) OF

EDOUARD MANET

Drawing

Collection Ernest Rotuirt,
Paris

HORSES

THE JOCKEY

THE MORXIXG RIDE

Drawings

Courtesy of

The Art Institute

oj Chicago

JOCKEYS

DEG/IS' FATHER LISTENING TO PAGANS c. 1872 Oil 31>i"x24K"

Colleclion John T. Spanltiin^, Hosloii

C.iFE COXCERT

c. 1875-76 Pastel 14 »/' x IQi •/'

Lyons Museum, France

THE BALLET

Pastel 12^5i"xlO"

The Corcoran Gallery of .Irt^ U'ashi>iglon, D. C.

BALLET SCESE 1878 Oil 10^" x 8)4'

Collection Mr. and Mrs. Sam .7. [.nvisohny Nno York

// (J.\Li\ II / 77/ CIIR y \S\/\T//EA/ i MS

1865 Oil 29"x36^"
T/ie Meh-opolitau Museum of Art, Xctv York

M.iKY C.iisS.iTT .rr THE LOLl'RE c. 1877 J^istel 27) /' x 20' /'

Court CSV (,f French .Irt Ctillcries, AVu' York

-^•CiH^.g,.,

1 ■■■' ■.

// y

1 P'

Left to right: Drawings, courtesy
of Carroll Car stairs. New York;
City Art Museum of St. Louis;
The Art Institute of Chicago;
Phillips Memorial Gallery,
Washington, D. C; National
Gallery of Canada, Ottawa;
Paul Rosenberg & Co., New
York, City Art Museum of
St. Louis.

DJNCfXC GIRLS IX HUE

Dr. Albert C.harpt'ntin\ Paris

c. 1S9() Oil 32" X 28

PORT R.I IT OF y^MES TISSOT

c. 1868 Oil 595/^" X 44"

The Mt'tropolilan Mi<senm of Art, yew York

AFTER THE lUTH 1885 Pastel 26H"x20K"

Private Collection, U. S. A.

THE MII.I.ISERY SHOP c. 1882 Oil 39"x43J4"

Tilt' .ht Institute oj Chicago, Mr. and Mrs. I.. I.. Cnburu Collection

D.iscisc ciRLs BFJ/rxn THE I R.niEiroRK OF A FL.rr

Collection Mrs. F-dward Jonas, New York

Pastel 28" x 20"

PORTRAIT OF DEC. IS AXD HIS FRIEND VALERNE

The Louvre Museum^ Paris

1868 Oil 46H"x35"

H.n.F-LESGTH STUDY OF IX'/\C/.\(; CIKLS

Toledo Miist'tim (>J Art

1899 Pasrel 24" x 26 4"

I'ORTR.IIT or .1 \LIX Oil 16H"x12:K'

Priva/r CoZ/rc/ion, Photo ll'ildensteiu i£ Co., New York

r

SI

^^^^^B ^ ^

^^^^^^^^^^^^^^^^^^^^^^^r

^ ^^^^^^^^^^B ^B It <S^^^^r' J^^^Bl^^^^^^^^^^^^^ 1 ^^^^^^^^^^^^^^^^^^^^^^ tf

^^B^ ^^H||^iX|l^^^^^^^^^^^^^^H

^^^^I^^^^^^^^B ^^^^^^^^^^^^B^B^^^^^^^^B^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^H

^^ByBIB^^^^ ^^^^^B

THE ISTF.RIOR (THE R/IPE) 1875 Oil 32" x 45"

Collection Henry P. .\frll/jenny, Philmielphia

L

«3V'^

S^ '

RUSSL^X DJNCJNG GIRLS

Ambroise VoUard^ Paris

Pastel 263^" x 20"

THE REHEARS. iL 1878-79 Oil 18i,"x23»k"

Copyright The Frick Collection, New York

BALLF.T M.1STER Drawing

Collection Henry /'. McHhenny, Philadelphia

POUriXG 1875-76 Oil 12M"xl8i.t"

The Metropolilau Museum of Art, New York

X

- ^

VSC «

v.

UNCLE ^ND NIECE . i862 Oi

The ,7;7 lustitute of Chicago, Mr. and Mrs. I.. /„ Cohurn Collection

3814" X 45 K"

MLLE. HORTENSE VALPINCOS Oil 28" x 44"

Courtesy of IFildensteiu ^ Co., New York

PORTR. II T or JL LIE liEl.I.El.l.l 14 H" x 9*i"

Drawing on caniboard

The Dumharloii Otiks Research Library ami Coilecliotty

Harvard University (Mr. and Mrs. Robert Woods Bliss Collection)

D.^SCIXC. CARL I'lLISKlXC, HER Al'DlEXCE

The Louvre Museum^ Paris

1877 Pastel ^O'/'xSO^"

.-/r THE RACES: "THEY'RE OFF" c. 1870 Oil on wood 12" x 18 4'

The Fogg Museum of Art, Harvard University

If'OM /IN /IT HER TOILET 1882 Pastel 20" x 18^"

Collection Hermafi Shulman, Stamford^ Conn.

PORTRAIT OF DIECO M.iRTELLl 1879 Oil 30'./'x46>^'

"Jacques Seligmanfi, Paris

T

/•^

* •' ^'

liOM^S COM H IXC HER HAIR

Courtesy of Dnrmid-Rtiel^ New York

Pastel 2814" X 235^"

ROUAULT

by

EDWARD ALDEN JEWELL

I he work of one of the most controversial
ligurc-s t)f modern art is put^lishcii now in a
new edition that captures the power and
vehemence of his unusual palette.
H reproductions in full color

■Hi repr«)ductions in black and white

M" X 14" . . . S3.00

RODIN

by

PHILIP R. ADAMS

Rodin's fame is as great in his own countr\
as it is throughout the world. A new collec-
tion of his most famous and monumental
work is presented in this volume.

16 two-tone plates Watercolors
40 reproductions Sculfftnrt
M" X \\" . . . S3.00

Published in this series

RENOIR

by

ROSAMUND FROST

Pierre Auguste Renoir is one of our fore-
most modern old masters. He is now re-esti-
mated a quarter century after his death.
8 reproductions in full color

48 black and white half-tone lithograph^

II" X 1-i" . . . S3.()()

MARY CASSAT

by

MARGARET BREUNING

Mary Cassatt, only recently recognized .li
one of our most accomplished artists, prc-j
sents the anomaly of being a thorough Amw."
ican. although she acquired her distincti|
st)le in Paris under French influences.
8 reproductions in full color

48 black and white half-tone lithograp>hj

M" X 14 " . . . S3.(H)

CEZANNE

by

EDWARD ALDEN JEWEL I

Modernism's debt to Paul Cezanne is enor
mous and many-faceted. He is justly call* i
"the father of Modern Art.'"

8 reproductions in full color

48 black and white half-tone lithograpl^

11" X 14" . . . S3.00

PiihUshed by
THE HYPERION PRESS. Inc.

Distrihtdted by

DUELL, SLOAN & PEARCF, Inc.

NF>X' YORK