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Lot Essay
Au cours de l'été de 1869 Degas se rend à Boulogne-sur-Mer, lieu où se rend Edouard Manet en villégiature. Durant son séjour, il peint en plein air une série de paysages marins, tels que le présent lot. Selon Anne Roquebert:
Ces paysages marins où s'allient vision et imagination, mêlent le souvenir à ce que la nature lui inspire. Degas interprète ses impressions visuelles en les synthétisant. Il transpose l'atmosphère de ses vues marines dont il ne conserve que les structures. Son approche très intellectuelle du paysage, l'éloigne de celles sensuelles de Monet ou Renoir; leurs démarches étant inversées, au lieu d'analyser sa perception, Degas réalise la synthèse de ses impressions. Il expérimente différentes techniques à partir du pastel retravaillé et dilué... Ses paysages constituent une subtile démonstration que l'art est conscient d'être 'une harmonie parallèle à la nature.' (A. Roquebert, Edgar Degas, Paris, 1988, p. 30)
In the summer of 1869, Degas travelled to the sea-side town of Boulogne-sur-Mer, the same location where Manet spent his summer vacations. During this voyage he often painted en plein air, including a series of marine landscapes such as the present work. As Anne Roquebert has discussed of this series,
These marine landscapes, where vision and imagination meet, are combined with the memory of nature's inspiration. Degas interprets and synthesizes these visual impressions. He transposes the atmosphere of these marine views, conserving only the structure. His intellectual approach to landscapes is a far cry from the seductive colours and brushwork of those by Monet and Renoir; their approach is quite opposite. Instead of analysing his perception, Degas realizes the synthesis of his impressions. He experiments with different techniques, beginning with pastel he dilutes and re-works... His landscapes constitute a subtile demonstration that art is conscient of being 'a harmony parallel to nature'. (A. Roquebert, Edgar Degas, Paris, 1988, p. 30)
(fig. 1) Edgar Degas, Marine, 1869.
Musée d'Orsay, Paris.
Ces paysages marins où s'allient vision et imagination, mêlent le souvenir à ce que la nature lui inspire. Degas interprète ses impressions visuelles en les synthétisant. Il transpose l'atmosphère de ses vues marines dont il ne conserve que les structures. Son approche très intellectuelle du paysage, l'éloigne de celles sensuelles de Monet ou Renoir; leurs démarches étant inversées, au lieu d'analyser sa perception, Degas réalise la synthèse de ses impressions. Il expérimente différentes techniques à partir du pastel retravaillé et dilué... Ses paysages constituent une subtile démonstration que l'art est conscient d'être 'une harmonie parallèle à la nature.' (A. Roquebert, Edgar Degas, Paris, 1988, p. 30)
In the summer of 1869, Degas travelled to the sea-side town of Boulogne-sur-Mer, the same location where Manet spent his summer vacations. During this voyage he often painted en plein air, including a series of marine landscapes such as the present work. As Anne Roquebert has discussed of this series,
These marine landscapes, where vision and imagination meet, are combined with the memory of nature's inspiration. Degas interprets and synthesizes these visual impressions. He transposes the atmosphere of these marine views, conserving only the structure. His intellectual approach to landscapes is a far cry from the seductive colours and brushwork of those by Monet and Renoir; their approach is quite opposite. Instead of analysing his perception, Degas realizes the synthesis of his impressions. He experiments with different techniques, beginning with pastel he dilutes and re-works... His landscapes constitute a subtile demonstration that art is conscient of being 'a harmony parallel to nature'. (A. Roquebert, Edgar Degas, Paris, 1988, p. 30)
(fig. 1) Edgar Degas, Marine, 1869.
Musée d'Orsay, Paris.