Lot Essay
Theodore Reff a indiqué que, selon son opinion, cette œuvre est de la main d’Edgar Degas.
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Études pour "La famille Bellelli" et autres esquisses
Details
Edgar Degas (1834-1917)
Études pour "La famille Bellelli" et autres esquisses
avec le cachet 'ATELIER ED. DEGAS' (en bas à gauche; Lugt 657)
graphite sur papier vergé, partiellement froissé par l'artiste
35 x 22 cm.
Exécuté vers 1860-62
stamped 'ATELIER ED. DEGAS' (lower left; Lugt 657)
pencil on laid paper, partially crinkled by the artist
13 ¾ x 8 ¾ in.
Executed circa 1860-62
Études pour "La famille Bellelli" et autres esquisses
avec le cachet 'ATELIER ED. DEGAS' (en bas à gauche; Lugt 657)
graphite sur papier vergé, partiellement froissé par l'artiste
35 x 22 cm.
Exécuté vers 1860-62
stamped 'ATELIER ED. DEGAS' (lower left; Lugt 657)
pencil on laid paper, partially crinkled by the artist
13 ¾ x 8 ¾ in.
Executed circa 1860-62
Provenance
Atelier de l’artiste.
René de Gas, Paris (par descendance).
Odette de Gas et Roland Nepveu, Paris (par descendance).
Arlette Nepveu-Degas, Paris (par descendance).
Puis par descendance au propriétaire actuel.
René de Gas, Paris (par descendance).
Odette de Gas et Roland Nepveu, Paris (par descendance).
Arlette Nepveu-Degas, Paris (par descendance).
Puis par descendance au propriétaire actuel.
Further details
Entre 22 et 26 ans, Edgar Degas achève sa formation en Italie, où réside une partie de sa famille. Il part pour Naples en juillet 1856 et se rend à Capodimonte dans la villa de son grand-père paternel Hilaire Degas où il entreprend le portrait de La famille Bellelli qui représente sa tante paternelle, Laure, avec son époux, le baron Gennaro Bellelli et ses deux filles, Giuila et Giovanna. La baronne porte le deuil de son père, Hilaire, récemment décédé, et dont le portrait est représenté sur la sanguine encadrée, juste à côté du visage de sa fille. Laure, impressionnante de dignité, affirme alors une autorité sévère qui évoque celle des maîtres flamands. Dans la version finale, le format imposant, les couleurs sobres, les jeux structurés de perspectives ouvertes tendent à renforcer un climat
de malaise qui évoque les tensions familiales qui murent chacun des personnages dans sa solitude. Dans le présent dessin, Degas a légèrement froissé le papier autour de la manche afin de reproduire le volume du tissu.
In July 1856, Degas travelled to Italy where he would remain for three years. The artist briefly setted in Naples, where he stayed with his paternal grandfather, Hilaire Degas, in Capodimonte, and later continued on to Rome and Florence. It was in Florence, in 1858, where he began work on the singular Family Portrait (The Bellelli Family), that he would complete a year later once back in Paris. The picture shows his paternal aunt, Laure, with her husband, Baron Gennaro Bellelli and their two daughters, Giulia and Giovanna. Laure wears traditional Italian mourning dress for her father Hilaire, who had recently passed away. His portrait appears in the red chalk drawing hanging on the wall behind his daughter. Laure, imposing and dignified, confirms her authority in her strict posture evoking the Flemish masters. In the final version, the large format and the compositional structure perfectly transmits the individual solitude
and family tensions present among various members of the Bellelli family. In the present drawing, Degas lightly crinkled the paper illustrating Laure’s sleeve which allowed him to create a more realistic effect of volume.
Edgar Degas, La famille Bellelli, vers 1860-62.
Musée d’Orsay, Paris.
de malaise qui évoque les tensions familiales qui murent chacun des personnages dans sa solitude. Dans le présent dessin, Degas a légèrement froissé le papier autour de la manche afin de reproduire le volume du tissu.
In July 1856, Degas travelled to Italy where he would remain for three years. The artist briefly setted in Naples, where he stayed with his paternal grandfather, Hilaire Degas, in Capodimonte, and later continued on to Rome and Florence. It was in Florence, in 1858, where he began work on the singular Family Portrait (The Bellelli Family), that he would complete a year later once back in Paris. The picture shows his paternal aunt, Laure, with her husband, Baron Gennaro Bellelli and their two daughters, Giulia and Giovanna. Laure wears traditional Italian mourning dress for her father Hilaire, who had recently passed away. His portrait appears in the red chalk drawing hanging on the wall behind his daughter. Laure, imposing and dignified, confirms her authority in her strict posture evoking the Flemish masters. In the final version, the large format and the compositional structure perfectly transmits the individual solitude
and family tensions present among various members of the Bellelli family. In the present drawing, Degas lightly crinkled the paper illustrating Laure’s sleeve which allowed him to create a more realistic effect of volume.
Edgar Degas, La famille Bellelli, vers 1860-62.
Musée d’Orsay, Paris.
Brought to you by
Fiona Braslau