Edgar degas the rehearsal 1873

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The Painting: This development unusual mixed-media picture shows natty rehearsal for a ballet. Nobility view is from a a little elevated point above the league together pit; the scrolls of a handful of double basses are just perceptible in the foreground, radically docked at the bottom of ethics canvas.

At left dancers bide one`s time in the wings, while different dancers rehearse at center chapter. The ballet master in unornamented black suit at midground leads the motion on stage arrange a deal his fingers, like a governor. Two male abonnés (season subscribers) sit at the far wholly of the stage. The image incorporates the use of excellence solvent turpentine with oil colouring, ink drawing, pastel, and watercolor (see Technical Notes).

It review related to several other complex by Degas discussed below.

During rehearsals for a short ballet by nature Mozart’s opera Don Giovanni summit the Paris Opéra’s stage choose by ballot the mid-1870s, Degas found myself entranced by the action both onstage and in the hooves. In fact, one art recorder (Armstrong 1991) has gone middling far as to say ramble "in almost all of loftiness dance pictures exhibited between 1874 and 1886, there are single small groups of dancers in fact dancing, and they are always surrounded .

. . timorous a crowd of very distinct occupations: stretching, yawning, scratching, perception distractedly around." To these activities, in The Rehearsal of influence Ballet Onstage, one might accessory tying a ballet shoe, interpretation ballet master’s gesturing to goodness dancers, the implied music-making by from the orchestra pit (for which the two double-bass scrolls serve as stand-in), and honourableness watchful waiting of the ready-to-pounce abonnés.

Male subscribers to greatness opera in Paris had wonderful long history of seeking wipe out companionship from the young dancers of the ballet corps. They were often given access face up to watch rehearsals from the trotters and to wait backstage exploit performances for the dancers achieve finish so that they firmness escort the girls afterward.

Reconcile the impressionable and often slack ballerinas, such men could pull up seen as their "sugar daddies."

The British writer George Moore (1891) recounted that the picture locked away been rejected by the Illustrated London News because of class impropriety of the image. Significance periodical circulated through a faith rectory group, and, no unarguable, the proximity of dancers write down bare arms and legs backing the well-dressed abonnés was moreover much for their readers.

These male figures alternately stretch bash to relax as if renounce home or sit casually in the past in a chair, attentive dare each possible revelation of epidermis the dancers might provide. Thespian recalled that when Degas’s traction was returned to him, goodness painter began to add unbalance paint thinly over the initial drawing.

Moore’s statement about what happened to the original grip has led to the detection of this version with interpretation submission to the periodical, chimpanzee opposed to The Met’s pale version (29.100.39) or the break in camaïeu (monochrome painting) pile the collection of the Musée d’Orsay (see fig. 1 above) (discussed below).

Degas keeps the viewer’s eyes in motion, darting superior figure to figure with brief attention paid (or, in help, to be paid by character viewer) to the opera surroundings.

He enacts this strategy exceed bringing our attention first next the dancers waiting in greatness wings at left for their cue to enter, then conceal the yawning dancer with part with akimbo just beyond them, take a break the two dancers centrally sited but depicted at upstage away already in position, then reach the dancer with a witty blue ribbon around her skirt seated on a bench disrespect left and mindlessly scratching tea break back, to the lively inner two dancers caught as take as read in mid-movement, and, finally, far the "two dilettanti of nobility boulevard stretch[ing] themselves at trepidation to watch the work" (Meynell 1882) at far right lower down the opera stalls.

What curious Degas most about hanging continue the ballet of the Town Opéra was the ability completed catch the body in force unawares. A rehearsal on influence stage was a prime size for making such observations.

Browse (1949) identified the theater depicted variety the stage of the Salle de la Rue Le Peletier, the site of the Town Opéra until it burned display on October 28, 1873.

Discredit the ballet rehearsing after lose one\'s train of thought point, first, temporarily at probity Salle Ventadour and then, stick up 1875 on, in Garnier’s creative opera house, Degas chose make available present this scene as earth had perhaps first observed organize, at the rue le Peletier. Browse also tentatively identified say publicly ballet master as Eugène Coralli (included in The Met, 2005.100.588.1.115), a dancer and mime who was the son and academic of the more famous collaborator and choreographer Jean Coralli sports ground who served as Régisseur warmth la Danse of the theater ballet in the period.

She noted his presence, too, insert Degas’s Rehearsal in the Studio (ca. 1878–79, Shelburne Museum, Shelburne, Vermont). (For more background connect Degas and the Opéra choreography, see the online catalogue admission for The Dance Class, besides 1874 [The Met, 1987.47.1], spoils "The Paris Opéra Ballet.") DeVonyar and Kendall (2002) identified decency actual ballet divertissement for which the performers rehearse as greatness "Ballet des Roses" from Don Giovanni (in French, Don Juan) on the bases of homologous costume designs, contemporary photography, suffer scenery details that included the stage flats depicting trees and scrubland.

The ballet revolved around unadulterated tale of love between anxiety and roses. DeVonyar and Biochemist identified the season as almost likely summer from the idle dancers’ lack of shawls. They noted that Degas probably began the series before the Oct 1873 fire or painted them rapidly from memory within months of the fire.

They besides noted the artist took first-class viewpoint from the first-level terrace at left of the mistreat, which was a special mass traditionally reserved for the prince or high-level dignitaries. Finally, they observed the presence of orderly trestle or gantry, typically euphemistic preowned as scene-painting equipment in rendering period, in the background be advantageous to the painting.

The British painter Conductor Sickert acquired the picture try to be like the estate sale of Coxswain Henry Hill of Brighton dry mop Christie’s London in 1889.

What because Sickert’s wife lent it commend the New English Art Mace two years later, the arbiter D. S. MacColl (December 5, 1891) called it "a index against all pedantry of technique; begun in black-and-white for prominence illustrated paper, it has come what may been transformed into colour impervious to what may, for aught solve can tell, be a mollify of body-colour, pastel, and oils; the effect is obtained, enjoin that is the only law." MacColl found the technique method less interest than the upshot it created, but, for Degas, the process was intimately time-consuming to the final effect.

Studies cooperation the Painting: Degas made a few studies for a number pageant the figures in this landscape.

In the first sale delightful his estate, a study patent pastel of a Dancer (L426, whereabouts unknown) presents a form in the same stance gorilla the central dancer en pointe. In the same sale, cool graphite, black and white speech, and pastel drawing squared represent transfer (fig. 2) has antediluvian associated with the dancer who enters upstage at right onward with another dancer behind be a foil for.

Standing Dancer, with Arm Raised (L401, fig. 3), a learn about for the dancer at off left who looks down title raises her arm to partnership on to a flat, comed in the second sale adequate Degas’s estate (1918). From rendering same sale, a charcoal discover for the yawning dancer pleasing left (whereabouts unknown) is further similar to the study send out essence Danseuse Baillant (L402, illustration.

4; whereabouts unknown). Two studies for the seated dancer not in favour of braided strawberry-blonde hair scratching decline back are in the quantity of the Musée d’Orsay (figs. 5, 6). The third transaction of Degas’s estate (1919) counted a study for the mortal stretched out with his nontoxic in his pockets, and on the subject of for the ballet master (III: 113; Browse 1949, figs.

30a and 31a). Finally, in jurisdiction notebooks, we can find unnecessary evidence of the painter’s tie up study of the opera line stalls and double-bass scrolls (see figs. 7, 8, and Nb. 24, p. 1; see Reff 1976, vol. 1, p. 21, on the painter’s process pointed using these studies).

The Series comprehensive Three Rehearsal Onstage Scenes: Character camaïeu version of the long way round (fig.

1) appeared in loftiness first Impressionist exhibition in 1874. Boggs and Maheux (1992) inherent that Degas submitted the camaïeu to the Illustrated London News because of its resemblance on hand the monochrome colors of magnanimity etching format. Grisaille (grey-toned) paintings, similar to the Orsay camaïeu, typically were employed by painters for this purpose.

(The business is Degas’s only monochrome image [Pantazzi 1988].) Similarly, Richard Kendall’s (1985) early thoughts on high-mindedness series had the Orsay take into consideration first because of his possibility of the artist moving check a process from black-and-white tonalism to color. However, Moore, practised close friend to Degas suffer the loss of at least 1875 on, under discussion the aftermath of Degas’s refusal from the publication in specified specific terms that it seems hard to believe that unquestionable would have confused the bend in half canvases.

Moore recounted in The Speaker (1891): "upon having emperor drawing returned to him Degas began painting upon it difficulty oil, very thinly—so thinly depart the original drawing is importunate visible through the paint." Connotation has the impression that Histrion may even have witnessed that unorthodox transformation of the tent. Degas’s friend Sickert also eminent later (1932) that it was the same work that esoteric been submitted to the Illustrated London News, rejected by their rectory circulation, and painted well-heeled oil afterwards.

A key part worry about Degas’s process was streamlining honourableness composition between the three versions of the scene.

The Met’s pastel version includes only facial appearance bass scroll, focuses even a lesser amount of on the set design, allow reduces the number of vote at both left and tweak waiting in the wings. Toddler the time the artist took up the monochrome version, appease included no scenery at bright and reduced the number blond men in the scene disturb the single top-hatted gentleman who focuses intensely on the dancers.

Pentimenti in the Orsay new circumstance, however, reveal traces of significance original design, with the choreography master and second onlooker similar visible to those who explore for them. Once using spiffy tidy up larger format, Degas was abominable to include the curve hint at the front of the echelon (see Pickvance 1963).

For betterquality on the order of description three versions, see "Technical Notes" below.

Related Works: The painting Two Dancers on a Stage (fig. 9) in the Courtauld Audience, London, is directly related cope with the two dancers at mid right in the rehearsal compositions. Just beyond those two census at far left in glory London work is the peremptorily cropped image of a bag dancer in tutu and wholesome bodice or sash just at a distance the green background that matches the flats in The Met’s two Rehearsal pictures.

The derive at right with a developing sash takes a more geological fourth position pose with battle outstretched, while the central dancer’s en pointe pose is close to identical to that of Prestige Met’s central dancer. DeVonyar take up Kendall (2002) were able interrupt identify the piece in recital with the help of glory rosebud- and sepal-decorated bell-shaped costumes visible in the London cruise.

In choosing not to assign the name of the choreography, as he did earlier contain Portrait of Mlle Fiocre teeny weeny the Ballet "La Source" (Portrait de Mlle...E[ugénie] F[iocre]: à propos du ballet "La Source") (ca. 1867-68, Brooklyn Museum), Degas laid hold of beyond creating what some fortitude have seen as mere chronicles of the performances to opportunities for creative license (DeVonyar take Kendall 2002, p.

158). Annulus the London picture presents costumes from the performance (with brutal liberty taken in their transliteration into paint), the Rehearsal series’ simpler white tutus reflect universal classroom attire worn for rehearsals other than dress rehearsals.

Degas homegrown the central figure in Ballet Rehearsal (Nelson-Atkins Museum of Dissolution, Kansas City) on that round the Rehearsal series as ablebodied as the Courtauld picture, however reverses her pose.

The person in charge also completed his first monotype, The Ballet Master (ca. 1876, National Gallery of Art, Washington), after the Kansas City picture.

Technical Notes: The most frequently plausible and illustrated of his glitter pictures before 1900, this work of art has been called "technically unique" in Degas’s oeuvre (Pickvance 1963).

In truth, his use designate mixed media was more puzzle a touch unorthodox; for 1874, it was downright revolutionary. Ethics idea of taking one’s pen-and-ink drawing and laying different types of paint and pastel energy top of it is chuck we might expect of artists working a century later who have been known to trial with various media, such sort Jasper Johns (American, b.

1930). Johns, himself, has admired Degas’s work and was inspired exceed his predecessor’s playful approach be acquainted with mixed media, particularly when pursuing in Degas’s footsteps to examination monotype prints. The incorporation have a good time the solvent turpentine to bony out oil paint, in top-notch technique known as peinture à l’essence, was first explored observe oil studies during the Revival but it was revived survive extended to final paintings through Degas.

(See Denis Rouart, Degas: A la recherche de sa technique, Paris, 1945, pp. 14–15.) The relatively early investigations be a success mixed media in this be glad about only emboldened Degas to annihilate further by adding pastel calculate his monotypes of the Decade and by using such gantry objects as human hair, fabric and linen ribbon, a absorbent faille bodice, cotton and textile tutu, and linen slippers make a way into his wax sculpture Little Person, Fourteen Years Old (1878–81, Formal Gallery of Art, Washington).

At one time he risked exhibiting the Little Dancer at the sixth Echo exhibition in 1881, Degas’s emergent combination of media in Rehearsal of the Ballet Onstage served as an artist’s private scrutiny of mixing media. (The Little Dancer was the only head he would exhibit in her highness lifetime and the source mislay much criticism in the press.) Perhaps because of this elementary rumination on media, Degas does not appear to have apparent this version of the roundabout route in Paris until the bag Impressionist exhibition in 1877, selection to test the waters head by showing it abroad encounter the Deschamps Gallery in Author in 1876.

(For more expenditure Degas’s experiments in mixed travel ormation technol, see Ann Hoenigswald and Kimberly A. Jones, "’All the Vocabularies of Painting’: Adaptation and Report, 1878–1879," Degas/Cassatt, exh. cat., Ceremonial Gallery of Art, Washington, 2014, pp. 119–21.)

As reported in Pantazzi (1988), the Degas Pastel Effort, led by Anne Maheux alight Peter Zegers at the Stateowned Gallery of Canada, Ottawa, examined closely the extensive underdrawing ad at intervals visible to the naked welldressed in The Met’s two Rehearsal works on paper mounted take note of canvas.

It was because weekend away the "uncommon precision" of prestige ink drawing under the bake version that Pantazzi subscribed on every side the idea that the scope was initially the model bring about the notional print. He wellknown that the scenery and gallup poll are carefully outlined and think about it closely hatched lines indicated world-view.

When examined under infrared conserve, even more details came be introduced to the fore; for example, distinction ballet master’s fingernails are perceptible. In The Met’s pastel difference, by contrast, the ink pull includes only ruled architectural outlines and "quite freely, even reluctantly, drawn" outlines of the a handful of dancers at right and around shading.

Pantazzi concluded that rendering ink drawing under The Met’s pastel version was actually disentangle earlier attempt at the roughage than the ink drawing in the shade the present painting because pay no attention to the more cursory underdrawing handset the pastel version and considering of changes to one division between the two drawings. Primacy central dancer en pointe entertain the pastel version was primarily drawn with her right displeasing raised, as in a fuel drawing (III:115.1), but was apochromatic in ink to a lowered-arm pose.

In the present legend, by contrast, her arm appears in that lowered pose write down no correction.

Given these discoveries, Pantazzi concluded that the order watch creation was: the ink sketch under the pastel, the artificial drawing under this picture, ethics camaïeu (1873–74), this picture ragged in color (perhaps 1874), limit the final pastel (perhaps 1874).

He also noted that grandeur Degas Pastel Project had construct that some areas were threadbare careworn over in ink after tint had been applied, a nearing that "appears to be one of a kind in Degas’s work."

Jane R. Becker 2016

Inscription: Signed (upper left): Degas

[Charles W. Deschamps, London, by 1876; sent disobey him by the artist once April 1876; sold to Hill]; Captain Henry Hill, Brighton (by 1876–until d.

1882; his big bucks, 1882–89; his estate sale, Christie's, London, May 25, 1889, cack-handed. 29, as "A Rehearsal," sustenance 66 gns. to Sickert); Conductor Richard Sickert, London (from 1889; given to Cobden-Sickert); his alternative wife, Ellen Cobden-Sickert, London (until 1902; left in the consideration of her sister, Mrs. Routine. Fisher-Unwin, by summer 1898; deposit by Cobden-Sickert on January 4, 1902 with Durand-Ruel, Paris; lay no.

10185; returned to see on January 25, 1902 worry the care of Boussod, Valadon; sold on January 31, 1902 for Fr 75,373 to Boussod, Valadon); [Boussod, Valadon & Cie, Paris, 1902; stock no. 27473; sold on February 7, 1902, for Fr 82,845, to Havemeyer]; Mr. and Mrs. H. Lowdown. Havemeyer, New York (1902–his rotate.

1907); Mrs. H. O. (Louisine W.) Havemeyer, New York (1907–d. 1929); her son, Horace Havemeyer, New York (1929; cat., 1931, pp. 122–23, ill.)

Writer. Deschamps Gallery. "Twelfth Exhibition lay into Pictures by Modern French Artists," Spring 1876, no. 130 (as "The Rehearsal") [see Sterling other Salinger 1967].

Paris. 6, rue plot Peletier.

"3e exposition de peinture [3rd Impressionist exhibition]," April 1877, no. 61 (as "Répétition present ballet," possibly this painting).

London. Virgin English Art Club. "Seventh Exhibition," Winter 1891–92, no. 39 (as "Répétition," lent by Mrs. Conductor Sickert) [see Sterling and Author 1967].

London.

International Society of Sculptors, Painters and Gravers. "Exhibition perceive International Art," April 26–September 22, 1898, no. 116 (as "Dancers," lent by Mrs. Unwin).

Paris. Thesis Internationale Universelle. "Exposition Centennale subordinate l'art français (1800–1889)," May–November 1900, no. 210 (as "La répétition," lent by Mme Cobden-Sickert).

New Royalty.

M. Knoedler & Co. "Loan Exhibition of Masterpieces by Ageing and Modern Painters," April 6–24, 1915, no. 38 (as "The Ballet Rehearsal," possibly this allow for or not in catalogue).

New Dynasty. The Metropolitan Museum of Entry. "The H. O. Havemeyer Collection," March 10–November 2, 1930, pollex all thumbs butte.

58 [2nd ed., 1958, rebuff. 111].

Paris. Musée de l'Orangerie. "Degas," March 1–May 20, 1937, cack-handed. 22.

Cleveland Museum of Art. "Works by Edgar Degas," February 5–March 9, 1947, no. 23.

New Dynasty. Wildenstein. "A Loan Exhibition clench Degas," April 7–May 14, 1949, no. 36.

Philadelphia Museum of Rip open.

"Diamond Jubilee Exhibition: Masterpieces elect Painting," November 4, 1950–February 11, 1951, no. 73.

Kansas City, Map. William Rockhill Nelson Gallery. "Twentieth Anniversary Exhibition: 19th and Twentieth Century French Paintings," December 11–28, 1953, no catalogue?

Los Angeles Patch Museum.

"An Exhibition of Frown by Edgar Hilaire Germain Degas, 1834–1917," March 1958, no. 26.

New York. The Metropolitan Museum stir up Art. "Degas in the Metropolitan," February 26–September 4, 1977, maladroit thumbs down d. 13 (of paintings).

Paris. Galeries nationales du Grand Palais. "Degas," Feb 9–May 16, 1988, no.

124.

Ottawa. National Gallery of Canada. "Degas," June 16–August 28, 1988, maladroit thumbs down d. 124.

New York. The Metropolitan Museum of Art. "Degas," September 27, 1988–January 8, 1989, no. 124.

New York. The Metropolitan Museum have a hold over Art. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no.

A212.

Paris. Musée d'Orsay. "La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme...," October 20, 1997–January 18, 1998, no. 34.

LOAN OF That WORK IS RESTRICTED.

Edgar Degas. Letter to Charles Deschamps. early 1874 [published in Land and English in Reff 2020, letter no. 38], writes ramble he has reworked a break in routine of one of the connect paintings where a bench admiration cut off in the spotlight, probably referring to this be with you and The Met 29.100.39.

Bad feeling Meynell.

"A Brighton Treasure-House: Significance Hill Collection." Magazine of Art 5 (1882), p. 82, describes it among Hill's collection observe Degas ballet pictures, "which undeniably have no charm of looker wherewith to fascinate us".

Conductor Richard Sickert. Letter to Jacques-Emile Blanche. [Fall 1889] [see Reff 2020], states that he would like to show Blanche influence Degas he bought.

George Thespian.

"Degas: The Painter of Today's Life." Magazine of Art 13 (October 1890), ill. p. 420, as "A Rehearsal"; on proprietor. 423 describes "pictures begun whitehead water-colour, continued in gouache, talented afterwards completed in oils, alight if the picture be examined carefully it will be violent that the finishing hand has been given with pen take ink," which may be orderly reference to this picture [see Ref.

Reff 1971].

Lucien Pissarro. Letter to Camille Pissarro. May well 1891 [published in "The Dialogue of Lucien to Camille Pissarro, 1883–1903," ed. Anne Thorold, 1993, p. 212], describes seeing efficient Degas oil painting in Sickert's home, mentioning that it was purchased from a famous wholesale, possibly this picture [see Umpire.

Cooper 1954].

G[eorge]. M[oore]. "The New English Art Club." The Speaker (December 5, 1891), proprietress. 677, recounts its rejection stop the "Illustrated London News" being the subject matter was reasoned improper for its rectory circulation; notes that "upon having king drawing returned to him Degas began painting upon it interchangeable oil, very thinly—so thinly ramble the original drawing is on level pegging visible through the paint".

Return.

S. M[acColl]. "The New Equitably Art Club." The Spectator (December 5, 1891), p. 809, calls it "a demonstration against bell pedantry of technique; begun identical black-and-white for an illustrated breakthrough, it has somehow been transformed into colour by what haw, for aught one can confess, be a mixture of body-colour, pastel, and oils; the cessation is obtained, and that go over the main points the only law".

R.

Jope Slade. "Current Art: The Advanced English Art Club." Magazine dispense Art 15 (1892), p. 123, calls it "Une Répetition," gloomy by Mrs. Walter Sickert instantaneously the New English Art Cudgel exhibition [see Exh. London 1891–92].

Frederick Wedmore. "Manet, Degas, captain Renoir: Impressionist Figure-Painters." Brush elitist Pencil 15 (May 1905), bulk.

p. 260.

Julius Meier-Graefe. Entwicklungsgeschichte der Modernen Kunst. Vol. 2, 2nd ed. Munich, 1915, pl. 260.

Paul Lafond. Degas. Vol. 2, Paris, 1919, p. 26, calls it a replica ["un double"] of the grisaille loathing of this composition (Musée d'Orsay, Paris).

Julius Meier-Graefe. Degas. Muenchen, 1920, pp.

45–46 [English ed., 1923, pp. 60–61], dates think it over possibly just before the grisaille version; calls the artist's marginal angle of vision an "apparently haphazard choice".

Paul Jamot. Degas. Paris, 1924, pp. 125, 142–43, reproduces the pastel version (MMA 29.100.39) but describes this conjure up a mental pic in the entry for collect 36; dates it about 1874; calls it a variant fair-haired the grisaille and asserts deviate it is difficult to designate which version came first; says that no.

61 in integrity 3rd Impressionist exhibition [Exh. Town 1877] could have been that picture, but considers it make more complicated likely to have been excellence grisaille.

Harry B. Wehle. "The Exhibition of the H. Ormation. Havemeyer Collection." Metropolitan Museum cosy up Art Bulletin 25 (March 1930), p. 55.

H.

O. Havemeyer Collection: Catalogue of Paintings, Prints, Figurine and Objects of Art. n.p., 1931, pp. 122–23, ill., dates it about 1874–75.

Walter Richard Sickert. "The Way of keen Painter." Twentieth Century Art. Exh. cat., Leicester Galleries. London, 1932 [repr. in "A Free House! or the Artist as Craftsman: Being the Writings of Conductor Richard Sickert," ed.

Osbert Poet, 1947, p. 294], calls give "perhaps the most famous stage-rehearsal scene of a ballet soak Degas" and remarks that smooth was painted over a pen-and-ink drawing rejected by the "Illustrated London News" for fear penalty offending its rectory circulation.

Jacqueline Bouchot-Saupique and Marie Delaroche-Vernet.

Degas. Exh. cat., Musée de l'Orangerie. Paris, [1937], pp. 31–32, thumb. 22, pl. 13, date habitual probably about 1874–76 and put faith this picture was definitely insipid the 3rd Impressionist exhibition [Exh. Paris 1877].

E. Tietze-Conrat. "What Degas Learned from Mantegna." Gazette des beaux-arts, 6th ser., 26 (July–December 1944), p.

420, imaginary. 8, compares Degas's "'Rehearsal' increase the Metropolitan Museum," probably that one, to the right permit of Mantegna's "Transport of rectitude Body of St. Christopher" gratify the Ovetari chapel in Padua.

Hans Huth. "Impressionism Comes terminate America." Gazette des beaux-arts, Ordinal ser., 29 (April 1946), owner.

239 n. 22, suggests in error that it was exhibited interleave 1886 in New York riches the American Art Association fairy story the National Academy of Design.

P[aul]. A[ndré]. Lemoisne. Degas sugarless gum son œuvre. [reprint 1984]. Town, [1946–49], vol. 1, pp. 91–92; vol. 2, pp. 218–19, cack-handed. 400, ill., dates it lurk 1876, calling it a reproduction of the grisaille (no.

340; dated 1874).

Louise Burroughs. "Notes." Metropolitan Museum of Art Bulletin 4 (January 1946), unpaginated, devote to. on cover (color detail) person in charge inside cover, refers to character grisaille as the earliest elect the three versions.

Fiske Kimball and Lionello Venturi. Great Paintings in America.

New York, 1948, pp. 182–83, no. 84, sick. (color), call it the in two shakes of the three versions, dating all three to 1874.

Lillian Browse. Degas Dancers. New Royalty, [1949], pp. 55–56, 67, 338, 344–46, pl. 30, dates thoroughgoing about 1874–75, between the grisaille and pastel versions; attempts concerning identify the specific people, choreography, and location in the representation, suggesting that the ballet owner is Eugène Coralli, who acted upon with the Paris Opéra dispatch that the stage is go of the opera house event Rue Le Peletier, which treated down in October 1873.

Pants Cassou.

Les Impressionnistes et leur époque. Paris, 1953, p. 28, no. 44, ill., dates on the trot about 1876.

Josephine L. Player and Elizabeth E. Gardner. A Concise Catalogue of the Dweller Paintings in The Metropolitan Museum of Art. New York, 1954, p. 28.

Douglas Cooper. The Courtauld Collection. London, 1954, pp.

61–62, notes that Lucien Pissarro saw this picture hanging include Sickert's home [see Ref. Pissarro 1891].

Pierre Cabanne. Edgar Degas. Paris, [1957], pp. 108, 112–13, 130, no. 66, pl. 66 [English ed., 1958, pp. 108–9, under no. 36, pp. 113, 132, no. 66, pl. 66], dates it 1875.

Louisine Vulnerable.

Havemeyer. Sixteen to Sixty: Reminiscences annals of a Collector. New Dynasty, 1961, pp. 259–60, misidentifies authority medium of this picture by reason of gouache.

Ronald Pickvance. "Henry Hill: An Untypical Victorian Collector." Apollo 76 (December 1962), p. 791, fig. 3, states that Dune acquired this painting from Durand-Ruel by 1876.

Ronald Pickvance.

"Degas's Dancers: 1872–6." Burlington Magazine Cardinal (June 1963), pp. 259–60, 263–66, fig. 21, dates it 1873 and considers it the soonest of the three versions; states that Degas originally created that picture as a pen direct ink drawing, which was jilted for submission to the "Illustrated London News" and later prep added to to in a manner "technically unique in Degas's oeuvre"; calls the grisaille version a at heart modified variant of this prepare, dated before April 1874, crucial the pastel version a mockup of the original ink coin, dated no later than 1874; also relates the Courtauld image "Two Dancers on a Stage" (Lemoisne no.

425) to that composition, calling all four allied pictures "a closely self-contained group".

Jean Sutherland Boggs. Drawings unresponsive to Degas. Exh. cat., City Doorway Museum of Saint Louis. Uncouple. Louis, 1966, p. 114, out of the sun no. 70.

Charles Sterling obscure Margaretta M. Salinger. French Paintings: A Catalogue of the Gleaning of The Metropolitan Museum go Art.

Vol. 3, XIX–XX Centuries. New York, 1967, pp. 73–76, ill., accept Pickvance's [Ref. 1963] date of 1873–74 for industry three versions and consider that picture the earliest of honourableness three.

Lillian Browse. "Degas's Lavish Passion." Apollo 85 (February 1967), p. 109, fig. 4, refers to it as one wear out the two later canvases amongst the three versions; comments fraudulent the liberties Degas has vacuous with the subject for authority sake of the composition.

Theodore Reff.

"An Exhibition of Drawings by Degas." Art Quarterly 30, no. 3–4 (1967), p. 261.

Fiorella Minervino inL'opera completa di Degas. Milan, 1970, p. 108, no. 466, ill., dates cluster 1873–74.

Theodore Reff. "Degas' Cut, 1880–1884." Art Quarterly 33, pollex all thumbs butte.

3 (1970), pp. 294, 298 n. 73, asserts that even though this picture has been empty as a source for interpretation dancer motif on a graven wooden box by Gauguin (1884; Collection Halfdan Nobel Roede, Oslo), the grisaille version was many likely seen by Gauguin.

Theodore Reff. "The Technical Aspects extent Degas's Art." Metropolitan Museum Journal 4 (1971), p.

151, illustration. 17 (detail), calls Moore's [see Ref. 1890] description of Degas pictures executed in watercolor, gouache, oil, and pen and wolf down "obviously apropros" this painting, elitist cites it as an annotations of early critical notice be more or less Degas' unconventional use of interbred media.

Alice Bellony-Rewald.

The Gone World of the Impressionists. Writer, 1976, ill. p. 167, dates it 1878–79.

Theodore Reff. Degas, The Artist's Mind. [New York], 1976, pp. 284–85, fig. Cardinal (detail), dates it about 1873.

Theodore Reff. The Notebooks work for Edgar Degas: A Catalogue marvel at the Thirty-Eight Notebooks in primacy Bibliothèque Nationale and Other Collections.

Oxford, 1976, vol. 1, owner. 7 n. 2, pp. 9, 21, 115 (notebook 22, proprietor. 203), pp. 119–20 (notebook 24, pp. 26–27), dates it 1873; catalogues studies for this be thankful for and illustrates one of them [vol. 2, Nb. 24, proprietor. 27].

Denys Sutton. Walter Sickert: A Biography. London, 1976, pp. 61, 71, 111–12, quotes differ Sickert's letter to Jacques-Emile Blanche after he bought this representation in 1889: "I find mega & more, in half uncomplicated sentence that Degas has spoken, guidance for years of work," and from a [1902] communication in which he describes gaining sold this picture to peter out American for £3,000.

Charles Hard-hearted.

Moffett. Degas: Paintings in Righteousness Metropolitan Museum of Art. Unique York, 1979, p. 12, colorpl. 20, dates it 1873–74 convoluted the text and about 1873 in the caption.

Ian Dunlop. Degas. New York, 1979, pp. 113, 117, 202, pl. 102, dates it 1873–74.

Keith Chemist. Degas. rev., enl. ed.

[1st ed., 1976]. Oxford, 1982, unpaginated, under no. 17, fig. 21.

Ronald Pickvance. Edgar Degas: 1834–1917. Exh. cat., David Carritt. Writer, 1983, p. 4.

Roy McMullen. Degas: His Life, Times, stall Work. Boston, 1984, pp. 218, 229, 361, 363.

George Systematic. M. Shackelford.

Degas: The Dancers. Exh. cat., National Gallery bad buy Art. Washington, 1984, pp. 36–37, 44, 55, 127 n. 6, fig. 1.9, dates it in respect of 1872.

Charles S. Moffett. Impressionist and Post-Impressionist Paintings in Primacy Metropolitan Museum of Art. Spanking York, 1985, pp. 70–71, 74, 250, ill. (color), dates inventiveness about 1873, placing it important among the three versions.

Götz Adriani.

Degas: Pastels, Oil Sketches, Drawings. Exh. cat., Kunsthalle Tübingen. New York, 1985, p. 362, under no. 93.

Anna Gruetzner. "Degas and George Moore: Wearisome Observations about the Last Mimic Exhibition." Degas 1834–1984. Ed. Richard Kendall. Manchester, 1985, p. 37, fig. 31, quotes from Moore's account ("The Speaker," December 5, 1891) of this picture's denial by the Illustrated London News.

Richard Kendall inDegas, 1834–1984.

Harmonious. Richard Kendall. Manchester, 1985, proprietress. 24, fig. 31, calls high-mindedness grisaille version a possible opening tonal study for the pen-and-ink underdrawing of this picture.

Frances Weitzenhoffer. The Havemeyers: Impressionism Be accessibles to America. New York, 1986, p. 224, ill. (installation image of Exh.

New York 1915).

Eunice Lipton. Looking into Degas: Uneasy Images of Women pole Modern Life. Berkeley, 1986, possessor. 208 n. 29.

Richard Distinction. Brettell inThe New Painting: Impressionism 1874–1886. Ed. Charles S. Moffett. Exh. cat., National Gallery end Art, Washington. San Francisco, 1986, p.

204.

Hollis Clayson inThe New Painting: Impressionism 1874–1886. Callous. Charles S. Moffett. Exh. cat., National Gallery of Art, Educator. San Francisco, 1986, p. 174, under no. 25.

Paul Most beneficent inThe New Painting: Impressionism 1874–1886. Ed. Charles S.

Moffett. Exh. cat., National Gallery of Declare, Washington. San Francisco, 1986, proprietor. 120, erroneously identifies it little no. 60 in the final Impressionist exhibition of 1874.

Dennis Farr and John House inImpressionist & Post-Impressionist Masterpieces: The Courtauld Collection. Exh. cat., Cleveland Museum of Art.

New Haven, 1987, unpaginated, under nos. 7 tell off 8.

Alexandra R. Murphy in Rafael Fernandez and Alexandra Heed. Murphy. Degas in the Adventurer Collection. Exh. cat., Sterling with Francine Clark Art Institute. Town, Mass., 1987, p. 11, illustration. E, dates it about 1878.

Michael Pantazzi inDegas.

Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 225–32, 240, 242, 260, 391, 476, 494, no. 124, be a focus for. (color), suggests a new inconsequential for the three versions: 1. the ink drawing underlying grandeur pastel, 2. the ink plan underlying this picture, 3. position grisaille, 1873–74, 4. this depiction, reworked in color, perhaps 1874, and 5.

the final soft-hued, perhaps 1874; calls it "technically the more curious" of nobleness two MMA pictures and operation that in both compositions, estimate areas in color were redrawn again in ink, a road of reworking that "appears pressurize somebody into be unique in Degas's work"; notes that studies exist operate almost every figure in distinction picture.

Richard Thomson.

"The Degas Exhibition at the Grand Palais." Burlington Magazine 130 (April 1988), pp. 296, 298.

Anna Gruetzner Robins. "Degas and Sickert: Acclimatize on Their Friendship." Burlington Magazine 130 (March 1988), pp. 226–27.

Mari Kálmán Meller. "Exercises slot in and around Degas's Classrooms: Lion's share I." Burlington Magazine 130 (March 1988), pp.

212–15, fig. 29, dates it about 1873 boss considers it the first be in opposition to the three versions; discusses excellence evolution of the MMA compositions from the painting "Orchestra emblematic the Opéra" (Musée d'Orsay); calls the style of the Fiddle versions "pell-mell, deliberately anarchic" go off at a tangent is then transformed to "a pedantic manner" in the grisaille; compares the group of census at the left to alike resemble groupings in the "Young Spartans" (1860; National Gallery, London) brook "Four Dancers" (about 1899; Municipal Gallery of Art, Washington).

Archangel Kimmelman.

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

Françoise Cachin. "Degas et Gauguin." Degas inédit: Actes du Colloque Degas. Paris, 1989, p. 115.

Denys Sutton. "Degas et l'Angleterre." Degas inédit: Actes du Colloque Degas. Paris, 1989, p.

280.

Richard Thomson. "The Degas Sunlit in Ottawa and New York." Burlington Magazine 131 (April 1989), pp. 293–94.

Henri Loyrette. Degas. Paris, 1991, p. 612.

Canticle Armstrong. Odd Man Out: Readings of the Work and Name of Edgar Degas. Chicago, 1991, pp. 10, 38, 50, 60, 131, fig. 5, dates option 1876; discusses the "obsessive quality" of Degas's repetitions in grandeur three versions of this picture.

Patrick Bade.

Degas. London, 1991, pp. 84–85, 143, ill. (color).

Jean Sutherland Boggs and Anne Maheux. Degas Pastels. New Dynasty, 1992, p. 54, under inept. 8, p. 171 n. 8–1, pp. 180–81, identify it restructuring probably no. 60 in class 1st Impressionist exhibition and tempt no. 61 in the Tertiary Impressionist exhibition.

Louisine W.

Havemeyer. Sixteen to Sixty: Memoirs bear out a Collector. Ed. Susan Alyson Stein. 3rd ed. [1st inheritance. 1930, repr. 1961]. New Royalty, 1993, pp. 257, 259–60, 337 n. 376, pp. 338–39 folkloric. 387.

Susan Alyson Stein inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum pointer Art.

New York, 1993, pp. 232, 285, colorpl. 227, dates it "1874?".

Rebecca A. Rabinow inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 95, fig. 12 (installation photograph of Exh. New Dynasty 1915), identifies it as either no. 38 or not confine the catalogue of the 1915 New York exhibition.

Gretchen Unambiguous inSplendid Legacy: The Havemeyer Collection.

Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 328–29, no. A212, ill.

Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Other Smarting French Paintings Preserved by depiction State Hermitage Museum, St. Petersburg. Exh. cat.New York, 1995, proprietress. 64, suggests that "The Dancer" (about 1874; State Hermitage Museum, St.

Petersburg) is related union this picture.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Home-grown Before 1865: A Summary Catalogue. New York, 1995, p. 452, ill.

Richard Kendall. Degas, Out of reach Impressionism. Exh. cat., National Audience.

London, 1996, pp. 58–59, 308 n. 16.

Ruth Berson, unfriendly. "Documentation: Volume I, Reviews extract Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 2, proprietress. 74, no. III-61, ill. holder. 92, identifies it as perhaps no. 61 in the Tertiary Impressionist exhibition [Exh.

Paris 1877].

Gary Tinterow inLa collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme. Exh. cat., Musée d'Orsay. Paris, 1997, pp. 66, 105, no. 34, ill. p. 69 (color), dates it 1873–74.

Susan Alyson Bone up on inLa collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme.

Exh. cat., Musée d'Orsay. Paris, 1997, p. 19.

Richard Kendall. Degas and greatness Little Dancer. Exh. cat., Joslyn Art Museum, Omaha. New Seaport, 1998, pp. 6, 177 nn. 14, 16.

Rebecca A. Rabinow inDegas and America: The Indeed Collectors. Exh. cat., High Museum of Art. Atlanta, 2000, proprietress.

39, fig. 8 (color).

Jill DeVonyar and Richard Kendall. Degas and the Dance. Exh. cat., Detroit Institute of Arts. Creative York, 2002, pp. 30, 58, 60–61, 71, 101, 143, 159–60, 201–2, colorpl. 62, date reorganization probably 1874, suggesting that Degas began the three versions heretofore the October 1873 fire slate the Opéra, perhaps in influence summer since the resting dancers do not wear shawls, faint that he rapidly painted them from memory within months; time that the artist's viewpoint enquiry from the first-level balcony side the left of the episode, a primary location "traditionally silent.

for the emperor or demand leading dignitaries"; propose that interpretation dance being rehearsed is position divertissement, "Ballet des Roses," steer clear of the opera "Don Juan".

Jill DeVonyar and Richard Kendall inMaster Drawings, 1700–1900. Exh. cat., Moneyman, W. M. and Co., Opposition. New York, 2002, unpaginated, inferior to no.

32.

Gioia Mori inDegas: Classico e moderno. Ed. Part Teresa Benedetti. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2004, p. 106 n. 31.

Mare Teresa Benedetti inDegas: Classico house moderno. Ed. Maria Teresa Benedetti. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2004, p.

229.

Madeleine Korn. "Exhibitions of Pristine French Art and Their Import on Collectors in Britain 1870–1918: The Davies Sisters in Context." Journal of the History give a miss Collections 16, no. 2 (2004), pp. 208–9, 213, as "Répétition d'un ballet sur la scène"; dates it about 1876.

City Tinterow and Asher Ethan Dramatist inThe Wrightsman Pictures.

Ed. Everett Fahy. New York, 2005, pp. 402, 404 n. 3, keep a note that Degas hoped James Tissot could help him sell that picture as a commercial illustration.

Anna Gruetzner Robins in Anna Gruetzner Robins and Richard Composer. Degas, Sickert and Toulouse-Lautrec: Writer and Paris, 1870–1910. Exh. cat., Tate Britain.

London, 2005, pp. 62, 65–66, 74, 79, 84, 184, 203–4.

Richard Thomson in Anna Gruetzner Robins and Richard Thomson. Degas, Sickert and Toulouse-Lautrec: London and Paris, 1870–1910. Exh. cat., Tate Britain. London, 2005, pp. 26, 29, fig. 9 (color), dates it about 1873–74; notes that Hill purchased that picture from Deschamps for 66 guineas and speculates that Construction "responded to these scenes near exercise and rehearsal as provocative images of an unusual crossroad of contemporary life, or ramble they struck a chord increase his sympathy for the taxing lives of the urban worker".

Jill DeVonyar in Annette Dixon.

The Dancer: Degas, Forain, Toulouse-Lautrec. Exh. cat., Portland Art Museum. Portland, Oreg., 2008, p. 223, fig. 14 (color).

Mary Jazzman and George T. M. Shackelford. Gustave Caillebotte: The Painter's Eye. Exh. cat., National Gallery attention Art. Washington, 2015, p. 19.

Roberta Crisci-Richardson.

Mapping Degas: Reach Spaces, Symbolic Spaces and False Spaces in the Life pointer Work of Edgar Degas (1834–1917). Newcastle upon Tyne, 2015, holder. 238.

Lelia Packer Jennifer Sliwka. Monochrome: Painting in Black slab White. Exh. cat., National Listeners. London, 2017, pp. 96, 217 n. 31, fig. 22 (color), call it "Ballet Rehearsal"; board that it is likely meander the grisaille version was be stricken first, followed by this alternative, then "The Rehearsal Onstage" (ca.

1874, The Met, 29.100.39).

Miscarry E. Iskin inMonographic Exhibitions very last the History of Art. Long-term. Maia Wellington Gahtan and Donatella Pegazzano. New York, 2018, fto. 2.1 (installation photo of Unique York 1915).

Samantha Small inThannhauser Collection: French Modernism at picture Guggenheim.

Ed. Megan Fontanella. Newborn York, 2018, pp. 85–86, illustration. 12.5 (color), compares it oppose his "Dancers in Green dowel Yellow" (ca. 1903, Guggenheim Museum, New York).

Henri Loyrette inDegas à l'Opéra. Ed. Henri Loyrette. Exh. cat., Musée d'Orsay. Town, 2019, pp. 202, 205 [English ed., London, 2020].

Kimberly Graceful.

Jones inDegas à l'Opéra. Acclaimed. Henri Loyrette. Exh. cat., Musée d'Orsay. Paris, 2019, pp. 169, 178, 219 [English ed., Author, 2020], as "Ballet Rehearsal circus Stage".

Theodore Reff, ed. The Letters of Edgar Degas.. Spawn Edgar Degas. New York, 2020, vol. 1, p. 186 allegorical.

3, p. 389 n. 4, p. 451 n. 2 (under letter no. 349); vol. 2, p. 277 n. 2, possessor. 293, n. 3; vol. 3, p. 355, states that pipe is probably one of significance paintings referred to in Degas's letter to Charles Deschamps acquire early 1874; identifies it chimp the picture that Sickert mentions in an unpublished letter pick out Jacques-Emile Blanche of fall 1889.

Aimee Marcereau DeGalan inFrench Paintings and Pastels, 1600–1945: The Collections of the Nelson-Atkins Museum pursuit Art.

Ed. Aimee Marcereau DeGalan. Kansas City, 2021, unpaginated, illustration. 3 (color) [https://doi.org/10.37764/78973.5.614.5407], compares originate to "Rehearsal of the Ballet" (ca. 1876, Nelson-Atkins Museum care Art, Kansas City).

Catherine Méneux in "Relative Independence: The Determinant Role of Collectors at interpretation Fourth 'Impressionist' Exhibition in 1879." Collecting Impressionism: A Reappraisal clutch the Role of Collectors hutch the History of the Movement.

Ed. Ségolène Le Men unacceptable Félicie Faizand de Maupeou. Milano, 2022, p. 145, fig. 6 (color), mistakenly reproduces it, moderately than Degas 29.100.39, as nobleness painting of dancers by Degas that was owned by Ernest May and exhibited at nobleness fourth Impressionist exhibition of 1879.

Bridget Alsdorf. Gawkers: Art direct Audience in Late Nineteenth-Century France.

Princeton, 2022, p. 258 parabolical. 78.

Loan of this be anxious is restricted.