Edgar Degas (1834-1917)

La danse Espagnole

細節

Edgar Degas (1834-1917)
La danse Espagnole
stamped with signature, numbered and stamped with foundry mark 'Degas 45/H A.A. HBRARD, CIRE PERDUE' (Lugt 658; on the top of the base)
bronze with green and black patina
Height: 17.1/8 in. (43.5 cm.)
Original wax model executed 1882-1895; this bronze version cast 1919-1921 in an edition of twenty-two, numbered A to T plus two casts reserved for the Degas heirs and the founder Hbrard.

來源

(Possibly) Blumenthal, 1926.
Anon. sale, Sotheby's, London, 3 July 1973, lot 26.
Anon. sale, Sotheby's, London, 30 June 1987, lot 20.

出版

J. Rewald, Degas's Sculpture, London, 1957, no. XLVII, pls. 46-50, (another cast illustrated).
C.W. Millard, The Sculpture of Edgar Degas, Princeton, 1976, p. 30, pl. 69 (original wax model illustrated).
J. Rewald, Degas's Complete Sculpture: Catalogue Raisonn, San Francisco, 1990, pp. 132-133, no. XLVII (original wax model and another cast illustrated).
S. Campbell, "A Catalogue of Degas' Bronzes," Apollo, vol. CXLII, no. 402, August 1995, pp. 32-33, no. 45 (another cast illustrated, fig. 43).

拍品專文

Although Edgar Degas only exhibited one sculpture during his lifetime, the medium was an important part of his creative output and he modelled statuettes in wax throughout his career.

Degas molded sculptures in various poses which he would later utilize as models for his pastels, drawings and paintings. This practice enabled him to explore movement in ways that were not possible on paper. The present work is a bronze casting of one of the three original plaster casts which were executed during the artist's lifetime. In 1931, the critic Germaine Bazin asserted that "Degas' statue (danse Espagnole)...has neither front, nor profile; it is alive in all directions and from whatever angle one perceives it it remains an active configuration" (G. Bazin, "Degas sculpteur," L'Amour de l'art, July 1931, p. 301).

Richard Kendall notes that, "Degas cast the three images that clearly represented the most persistent themes in his work: the dance, the female nude, and the female nude dancer" (R. Kendall, Degas: Beyond Impressionism, exh. cat., The Art Institute of Chicago, 1996, p. 35). Degas repeated this pose again in Danse espagnole (Rewald, no. LXVI).