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拍品專文
The present work belongs to a series of seven pastels which Degas created in the 1880s, depicting the figure of the Harlequin. Inspired by the ballet adaptation of Les jumeaux de Bergame, a Commedia dell'Arte—like farce composed by Jean-Pierre Claris de Florian in 1782, the piece was produced in Paris as a ballet titled Arlequin danse and presented at the Théâtre National de l'Opéra in 1885. It tells the story of two brothers, both Harlequins, in love with the same woman, causing episodes of comedic confusion due to their close resemblance. The male characters were played by women, and Degas would come to paint the portrait of Mademoiselle Salle, the dancer in the role of Harlequin in 1886. The artist attended rehearsals of the play throughout the year 1885, and is recorded to have attended at least one performance on 12 February 1886.
Per his preferred working method, Degas gained access to the foyer of this ballet, hence the close and intimate perspective from which we gather the scene. Here, one of the brightly dressed Harlequins holds a slapstick, pretending to hit his brother miserably stuck in a bag while a row of lovely, pink colored dancers parade endlessly in the background. We can sense the immediacy of the moment in which Degas sketches in real time from the backstage, as his layering of outlines in charcoal and brisk strokes of pastel create a strong impression of movement. The viewer can almost hear the stick slap against the orchestra and the dancers running against the wooden floors, and the contagious agitation of the scene which must have surely spread to its audience.
Degas gifted the present pastel to Hortense Valpinçon as a wedding gift. Hortense was the eldest child and only daughter of his childhood friend Paul Valpinçon, and the artist would paint her and the family on numerous occasions, as he spent much time on their country Estate in Normandy, giving this example in the series a uniquely personal touch. The work stayed with her descendants until 1981, when it was acquired by H. Rodes Sr. and Patricia Hart and remained in their collection for close to fifty years.
Per his preferred working method, Degas gained access to the foyer of this ballet, hence the close and intimate perspective from which we gather the scene. Here, one of the brightly dressed Harlequins holds a slapstick, pretending to hit his brother miserably stuck in a bag while a row of lovely, pink colored dancers parade endlessly in the background. We can sense the immediacy of the moment in which Degas sketches in real time from the backstage, as his layering of outlines in charcoal and brisk strokes of pastel create a strong impression of movement. The viewer can almost hear the stick slap against the orchestra and the dancers running against the wooden floors, and the contagious agitation of the scene which must have surely spread to its audience.
Degas gifted the present pastel to Hortense Valpinçon as a wedding gift. Hortense was the eldest child and only daughter of his childhood friend Paul Valpinçon, and the artist would paint her and the family on numerous occasions, as he spent much time on their country Estate in Normandy, giving this example in the series a uniquely personal touch. The work stayed with her descendants until 1981, when it was acquired by H. Rodes Sr. and Patricia Hart and remained in their collection for close to fifty years.