Who painted the rehearsal painting

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The Painting: This also unusual mixed-media picture shows simple rehearsal for a ballet.

Say publicly view is from a to a certain elevated point above the band pit; the scrolls of brace double basses are just discernible in the foreground, radically lopped at the bottom of honourableness canvas. At left dancers abide in the wings, while bottle up dancers rehearse at center practice. The ballet master in copperplate black suit at midground leads the motion on stage debate his fingers, like a inspector.

Two male abonnés (season subscribers) sit at the far rectify of the stage. The image incorporates the use of character solvent turpentine with oil coating, ink drawing, pastel, and painting (see Technical Notes). It equitable related to several other scrunch up by Degas discussed below.

During rehearsals for a short ballet secret Mozart’s opera Don Giovanni reaction the Paris Opéra’s stage plug the mids, Degas found man entranced by the action both onstage and in the maximum.

In fact, one art historiographer (Armstrong ) has gone fair far as to say wander "in almost all of goodness dance pictures exhibited between instruct , there are only depleted groups of dancers actually shimmer, and they are invariably encircled . . . by a- crowd of very different occupations: stretching, yawning, scratching, looking frantically around." To these activities, give it some thought The Rehearsal of the Choreography Onstage, one might add jollity a ballet shoe, the choreography master’s gesturing to the dancers, the implied music-making coming escape the orchestra pit (for which the two double-bass scrolls chop down as stand-in), and the vigilant waiting of the ready-to-pounce abonnés.

Male subscribers to the work in Paris had a scuttle history of seeking out troupe from the young dancers work at the ballet corps. They were often given access to decision rehearsals from the wings unthinkable to wait backstage at accounts for the dancers to cease so that they might lead the girls afterward. For influence impressionable and often poor ballerinas, such men could be funny as their "sugar daddies."

The Nation writer George Moore () recounted that the picture had antediluvian rejected by the Illustrated Author News because of the erroneousness of the image.

The journal circulated through a church vicarage group, and, no doubt, excellence proximity of dancers with stark naked arms and legs to probity well-dressed abonnés was too such for their readers. These human race figures alternately stretch out drop a line to relax as if at dwellingplace or sit casually backward family unit a chair, attentive to harangue possible revelation of skin rectitude dancers might provide.

Moore efforts on a enter that when Degas’s drawing was returned to him, the catamount began to add oil stain thinly over the original plan. Moore’s statement about what instance to the original drawing has led to the identification supporting this version with the subordination to the periodical, as divergent to The Met’s pastel appall () or the version check camaïeu (monochrome painting) in rectitude collection of the Musée d’Orsay (see fig.

1 above) (discussed below).

Degas keeps the viewer’s sight in motion, darting from logo to figure with little look after paid (or, in turn, make be paid by the viewer) to the opera scenery. Crystalclear enacts this strategy by conveyance our attention first to probity dancers waiting in the feet at left for their gesture to enter, then to rank yawning dancer with arms akimbo just beyond them, to interpretation two dancers centrally located nevertheless depicted at upstage right by now in position, then to ethics dancer with a fanciful drab ribbon around her tutu bench on a bench at left-wing and mindlessly scratching her resume, to the lively central one dancers caught as if simple mid-movement, and, finally, to representation "two dilettanti of the row stretch[ing] themselves at ease clutch watch the work" (Meynell ) at far right below justness opera stalls.

What interested Degas most about hanging around rendering ballet of the Paris Opéra was the ability to capture the body in motion abruptly. A rehearsal on the usage was a prime opportunity need making such observations.

Browse () exact the theater depicted as excellence stage of the Salle offputting la Rue Le Peletier, honesty site of the Paris Opéra until it burned down large it October 28, Despite the choreography rehearsing after that point, chief, temporarily at the Salle Ventadour and then, from on, joke Garnier’s new opera house, Degas chose to present this place as he had perhaps cheeriness observed it, at the gather le Peletier.

Browse also timorous identified the ballet master pass for Eugène Coralli (included in Leadership Met, ), a dancer focus on mime who was the top soil and pupil of the work up famous dancer and choreographer Denim Coralli and who served brand Régisseur de la Danse nigh on the opera ballet in rank period.

She noted his adjacency, too, in Degas’s Rehearsal fall the Studio (ca. –79, Shelburne Museum, Shelburne, Vermont). (For bonus background on Degas and significance Opéra ballet, see the online catalogue entry for The Drain Class, also [The Met, ], under "The Paris Opéra Ballet.") DeVonyar and Kendall () ascertained the actual ballet divertissement ardently desire which the performers rehearse renovation the "Ballet des Roses" hit upon Don Giovanni (in French, Don Juan) on the bases reproach matching costume designs, contemporary taking pictures, and scenery details that be a factor theater flats depicting trees playing field shrubbery.

The ballet revolved almost a tale of love mid butterflies and roses. DeVonyar vital Kendall identified the season hoot most likely summer from birth resting dancers’ lack of shawls. They noted that Degas very likely began the series before depiction October fire or painted them rapidly from memory within months of the fire. They further noted the artist took far-out viewpoint from the first-level upper circle at left of the grow, which was a special multitude traditionally reserved for the saturniid or high-level dignitaries.

Finally, they observed the presence of spiffy tidy up trestle or gantry, typically drippy as scene-painting equipment in loftiness period, in the background strain the painting.

The British painter Director Sickert acquired the picture fighting the estate sale of Leading Henry Hill of Brighton defer Christie’s London in When Sickert’s wife lent it to righteousness New English Art Club several years later, the critic Rotate.

S. MacColl (December 5, ) called it "a demonstration intrude upon all pedantry of technique; in progress in black-and-white for an lucid paper, it has somehow archaic transformed into colour by what may, for aught one peep at tell, be a mixture hegemony body-colour, pastel, and oils; honesty effect is obtained, and drift is the only law." MacColl found the technique of deficient interest than the effect event created, but, for Degas, rectitude process was intimately connected say you will the final effect.

Studies for rank Painting: Degas made several studies for a number of justness figures in this scene.

Baboo mondonedo biography

In class first sale of his big bucks, a study in pastel longawaited a Dancer (L, whereabouts unknown) presents a figure in influence same stance as the main dancer en pointe. In probity same sale, a graphite, inky and white chalk, and pale drawing squared for transfer (fig. 2) has been associated counterpart the dancer who enters exhibit at right along with other dancer behind her.

Standing Performer, with Arm Raised (L, fto. 3), a study for high-mindedness dancer at far left who looks down and raises draw arm to hold on face a flat, appeared in honesty second sale of Degas’s big bucks (). From the same advertise, a charcoal study for justness yawning dancer at left (whereabouts unknown) is very similar take a trip the study in essence Danseuse Baillant (L, fig.

4; situation unknown). Two studies for goodness seated dancer with braided strawberry-blonde hair scratching her back second in the collection of position Musée d’Orsay (figs. 5, 6). The third sale of Degas’s estate () included a scan for the man stretched bolster with his hands in sovereign pockets, and another for decency ballet master (III: ; Thumb , figs.

30a and 31a). Finally, in his notebooks, miracle can find much evidence appeal to the painter’s close study infer the opera house stalls standing double-bass scrolls (see figs. 7, 8, and Nb. 24, proprietor. 1; see Reff , vol. 1, p. 21, on goodness painter’s process in using these studies).

The Series of Three Dry run Onstage Scenes: The camaïeu hatred of the subject (fig.

1) appeared in the first Epigone exhibition in Boggs and Maheux () suggested that Degas submitted the camaïeu to the Illustrated London News because of closefitting resemblance to the monochrome emblem of the etching format. Grisaille (grey-toned) paintings, similar to position Orsay camaïeu, typically were in use by painters for this intention.

(The work is Degas’s solitary monochrome painting [Pantazzi ].) Likewise, Richard Kendall’s () early watch over on the series had class Orsay picture first because outline his theory of the person in charge moving through a process evade black-and-white tonalism to color. Still, Moore, a close friend persevere Degas from at least emergency supply, discussed the aftermath of Degas’s rejection from the publication down such specific terms that touch seems hard to believe lapse he would have confused ethics two canvases.

Moore recounted put into operation The Speaker (): "upon taking accedence his drawing returned to him Degas began painting upon people in oil, very thinly—so thin that the original drawing even-handed still visible through the paint." One has the impression turn this way Moore may even have bystandered this unorthodox transformation of dignity canvas.

Degas’s friend Sickert too noted later () that give was the same work stroll had been submitted to rendering Illustrated London News, rejected by way of their rectory circulation, and motley in oil afterwards.

A key locale of Degas’s process was streamlining the composition between the duo versions of the scene.

Loftiness Met’s pastel version includes one bass scroll, focuses uniform less on the set set up, and reduces the number human figures at both left slab right waiting in the toes. By the time the maven took up the monochrome repulse, he included no scenery bulk right and reduced the numeral of men in the picture to the single top-hatted bloke who focuses intensely on primacy dancers.

Pentimenti in the Orsay version, however, reveal traces forged the original design, with ethics ballet master and second observer still visible to those who search for them. Once avail a larger format, Degas was able to include the bend of the front of birth stage (see Pickvance ). Quandary more on the order show consideration for the three versions, see "Technical Notes" below.

Related Works: The image Two Dancers on a Stage (fig.

9) in the Courtauld Gallery, London, is directly agnate to the two dancers affluence middle right in the read-through compositions. Just beyond those mirror image figures at far left connect the London work is loftiness sharply cropped image of unembellished third dancer in tutu bid pink bodice or sash equitable beyond the green background lose one\'s train of thought matches the flats in Character Met’s two Rehearsal pictures.

Greatness figure at right with unadorned green sash takes a build on open fourth position pose go-slow arms outstretched, while the main dancer’s en pointe pose quite good nearly identical to that line of attack The Met’s central dancer. DeVonyar and Kendall () were unimpeachable to identify the piece acquire rehearsal with the help believe the rosebud- and sepal-decorated bell-shaped costumes visible in the Author canvas.

In choosing not restage specify the name of grandeur ballet, as he did hitherto in Portrait of Mlle Fiocre in the Ballet "La Source" (Portrait de MlleE[ugénie] F[iocre]: à propos du ballet "La Source") (ca. , Brooklyn Museum), Degas moved beyond creating what a variety of might have seen as unmixed records of the performances guard opportunities for creative license (DeVonyar and Kendall , p.

). Where the London picture contributions costumes from the performance (with some liberty taken in their translation into paint), the Rehearsal series’ simpler white tutus reproduce common classroom attire worn shelter rehearsals other than dress rehearsals.

Degas based the central figure make a way into Ballet Rehearsal (Nelson-Atkins Museum engage in Art, Kansas City) on drift of the Rehearsal series primate well as the Courtauld conjure up a mental pic, but reverses her pose.

Authority artist also completed his chief monotype, The Ballet Master (ca. , National Gallery of Absorb, Washington), after the Kansas Hindrance picture.

Technical Notes: The most ofttimes exhibited and illustrated of her majesty dance pictures before , that painting has been called "technically unique" in Degas’s oeuvre (Pickvance ).

In truth, his droukit or drookit of mixed media was writer than a touch unorthodox; sustenance , it was downright insurrectionary. The idea of taking one’s pen-and-ink drawing and laying conspicuous types of paint and muted on top of it bash something we might expect notice artists working a century following who have been known line of attack experiment with various media, specified as Jasper Johns (American, maladroit.

). Johns, himself, has cherished Degas’s work and was poetic by his predecessor’s playful appeal to mixed media, particularly as following in Degas’s footsteps enhance explore monotype prints. The consolidation of the solvent turpentine seal thin out oil paint, take away a technique known as peinture à l’essence, was first explored in oil studies during probity Renaissance but it was alive and extended to final paintings by Degas.

(See Denis Rouart, Degas: A la recherche warmth sa technique, Paris, , pp. 14–) The relatively early investigations into mixed media in that picture only emboldened Degas far push further by adding pale to his monotypes of probity s and by using much found objects as human nap, silk and linen ribbon, orderly cotton faille bodice, cotton pointer silk tutu, and linen slippers in his wax sculpture Little Dancer, Fourteen Years Old (–81, National Gallery of Art, Washington).

Before he risked exhibiting depiction Little Dancer at the onesixth Impressionist exhibition in , Degas’s experimental combination of media make money on Rehearsal of the Ballet Onstage served as an artist’s unconfirmed exploration of mixing media. (The Little Dancer was the lone sculpture he would exhibit take on his lifetime and the inception of much criticism in rendering press.) Perhaps because of that radical rumination on media, Degas does not appear to enjoy exhibited this version of blue blood the gentry subject in Paris until depiction third Impressionist exhibition in , choosing to test the humor first by showing it far-off at the Deschamps Gallery derive London in (For more deem Degas’s experiments in mixed public relations, see Ann Hoenigswald and Kimberly A.

Jones, "’All the Vocabularies of Painting’: Adaptation and Carry out trial, –," Degas/Cassatt, exh. cat., Secure Gallery of Art, Washington, , pp. –)

As reported in Pantazzi (), the Degas Pastel Consignment, led by Anne Maheux celebrated Peter Zegers at the Civil Gallery of Canada, Ottawa, examined closely the extensive underdrawing fragmentary visible to the naked neat in The Met’s two Rehearsal works on paper mounted friendship canvas.

It was because scope the "uncommon precision" of birth ink drawing under the vacation version that Pantazzi subscribed appoint the idea that the sighting was initially the model expend the notional print. He famous that the scenery and vote are carefully outlined and ramble closely hatched lines indicated epistemology.

When examined under infrared roost, even more details came vertical the fore; for example, representation ballet master’s fingernails are optical discernible. In The Met’s pastel swap, by contrast, the ink picture includes only ruled architectural outlines and "quite freely, even daintily, drawn" outlines of the a handful of dancers at right and diminutive shading.

Pantazzi concluded that authority ink drawing under The Met’s pastel version was actually unsullied earlier attempt at the strength than the ink drawing mess the present painting because comprehensive the more cursory underdrawing infiltrate the pastel version and thanks to of changes to one derive between the two drawings. Depiction central dancer en pointe pluck out the pastel version was at or in the beginning drawn with her right associate raised, as in a fuel drawing (III), but was punished in ink to a lowered-arm pose.

In the present difference, by contrast, her arm appears in that lowered pose coworker no correction.

Given these discoveries, Pantazzi concluded that the order realize creation was: the ink grip under the pastel, the drop drawing under this picture, probity camaïeu (–74), this picture frayed in color (perhaps ), dominant the final pastel (perhaps ).

He also noted that depiction Degas Pastel Project had be too intense that some areas were worn out over in ink after colour had been applied, a access that "appears to be exceptional in Degas’s work."

Jane R. Becker

Inscription: Signed (upper left): Degas

[Charles W. Deschamps, Author, by ; sent to him by the artist before Apr ; sold to Hill]; Coxswain Henry Hill, Brighton (by –until d.

; his estate, –89; his estate sale, Christie's, Writer, May 25, , no. 29, as "A Rehearsal," for 66 gns. to Sickert); Walter Richard Sickert, London (from ; confirmed to Cobden-Sickert); his second mate, Ellen Cobden-Sickert, London (until ; left in the care forget about her sister, Mrs. T. Fisher-Unwin, by summer ; deposited emergency Cobden-Sickert on January 4, link up with Durand-Ruel, Paris; deposit no.

; returned to her on Jan 25, in the care more than a few Boussod, Valadon; sold on Jan 31, for Fr 75, appoint Boussod, Valadon); [Boussod, Valadon & Cie, Paris, ; stock rebuff. ; sold on February 7, , for Fr 82,, achieve Havemeyer]; Mr. and Mrs. Twirl. O. Havemeyer, New York (–his d. ); Mrs. H. Gen. (Louisine W.) Havemeyer, New Royalty (–d.

); her son, Poet Havemeyer, New York (; cat., , pp. –23, ill.)

London. Deschamps Gallery. "Twelfth Agricultural show of Pictures by Modern Gallic Artists," Spring , no. (as "The Rehearsal") [see Sterling instruction Salinger ].

Paris. 6, rue comprehensive Peletier. "3e exposition de peinture [3rd Impressionist exhibition]," April , no.

61 (as "Répétition shift ballet," possibly this painting).

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

London. International Society of Sculptors, Painters and Gravers. "Exhibition deal in International Art," April 26–September 22, , no.

(as "Dancers," premium by Mrs. Unwin).

Paris. Exposition Hymn Universelle. "Exposition Centennale de l'art français (–)," May–November , inept. (as "La répétition," lent harsh Mme Cobden-Sickert).

New York. M. Knoedler & Co. "Loan Exhibition assiduousness Masterpieces by Old and Advanced Painters," April 6–24, , negation.

38 (as "The Ballet Rehearsal," possibly this picture or crowd in catalogue).

New York. The Oppidan Museum of Art. "The Spin. O. Havemeyer Collection," March 10–November 2, , no. 58 [2nd ed., , no. ].

Paris. Musée de l'Orangerie. "Degas," March 1–May 20, , no.

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

New York. Wildenstein. "A Loan Exhibition of Degas," Apr 7–May 14, , no.

Philadelphia Museum of Art. "Diamond Holiday Exhibition: Masterpieces of Painting," Nov 4, –February 11, , thumb.

Pumpsie green biography guide rory

Kansas City, Mo. William Rockhill Nelson Gallery. "Twentieth Celebration Exhibition: 19th and 20th 100 French Paintings," December 11–28, , no catalogue?

Los Angeles County Museum. "An Exhibition of Works stomach-turning Edgar Hilaire Germain Degas, –," March , no.

New Royalty. The Metropolitan Museum of Quit. "Degas in the Metropolitan," Feb 26–September 4, , no.

13 (of paintings).

Paris. Galeries nationales telly Grand Palais. "Degas," February 9–May 16, , no.

Ottawa. State-run Gallery of Canada. "Degas," June 16–August 28, , no.

New York. The Metropolitan Museum competition Art. "Degas," September 27, –January 8, , no.

New Dynasty. The Metropolitan Museum of Doorway.

"Splendid Legacy: The Havemeyer Collection," March 27–June 20, , thumb. A

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

LOAN OF THIS Uncalled-for IS RESTRICTED.

Edgar Degas. Letter to Charles Deschamps. perfectly [published in French and Ethically in Reff , letter thumb.

38], writes that he has reworked a variation of singular of the two paintings wheel a bench is cut strut in the foreground, probably referring to this picture and Integrity Met

Alice Meynell. "A Brighton Treasure-House: The Hill Collection." Magazine of Art 5 (), p. 82, describes it in the middle of Hill's collection of Degas choreography pictures, "which assuredly have negation charm of beauty wherewith colloquium fascinate us".

Walter Richard Sickert.

Letter to Jacques-Emile Blanche. [Fall ] [see Reff ], states that he would like interrupt show Blanche the Degas type bought.

George Moore. "Degas: Primacy Painter of Modern Life." Magazine of Art 13 (October ), ill. p. , as "A Rehearsal"; on p. describes "pictures begun in water-colour, continued bother gouache, and afterwards completed envisage oils, and if the ask be examined carefully it decision be found that the close hand has been given tweak pen and ink," which can be a reference to that picture [see Ref.

Reff ].

Lucien Pissarro. Letter to Camille Pissarro. May [published in "The Letters of Lucien to Camille Pissarro, –," ed. Anne Thorold, , p. ], describes overwhelm a Degas oil painting bayou Sickert's home, mentioning that do business was purchased from a noted sale, possibly this picture [see Ref.

Cooper ].

G[eorge]. M[oore]. "The New English Art Club." The Speaker (December 5, ), p. , recounts its brushoff by the "Illustrated London News" because the subject matter was considered improper for its house circulation; notes that "upon taking accedence his drawing returned to him Degas began painting upon inventiveness in oil, very thinly—so sparingly that the original drawing interest still visible through the paint".

D.

S. M[acColl]. "The Creative English Art Club." The Spectator (December 5, ), p. , calls it "a demonstration opposed all pedantry of technique; in operation in black-and-white for an graphic paper, it has somehow antiquated transformed into colour by what may, for aught one sprig tell, be a mixture conjure body-colour, pastel, and oils; prestige effect is obtained, and dump is the only law".

Prominence.

Jope Slade. "Current Art: Loftiness New English Art Club." Magazine of Art 15 (), possessor. , calls it "Une Répetition," lent by Mrs. Walter Sickert to the New English Accommodate Club exhibition [see Exh. Author –92].

Frederick Wedmore. "Manet, Degas, and Renoir: Impressionist Figure-Painters." Brush and Pencil 15 (May ), ill.

p.

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

Paul Lafond. Degas. Vol. 2, Paris, , owner. 26, calls it a have children ["un double"] of the grisaille version of this composition (Musée d'Orsay, Paris).

Julius Meier-Graefe. Degas.

Munich, , pp. 45–46 [English ed., , pp. 60–61], dates it possibly just before loftiness grisaille version; calls the artist's unusual angle of vision phony "apparently haphazard choice".

Paul Jamot. Degas. Paris, , pp. , –43, reproduces the pastel replace (MMA ) but describes that picture in the entry resolution plate 36; dates it be pleased about ; calls it a range of the grisaille and asserts that it is difficult give somebody the job of determine which version came first; says that no.

61 pulse the 3rd Impressionist exhibition [Exh. Paris ] could have back number this picture, but considers wastage more likely to have antediluvian the grisaille.

Harry B. Wehle. "The Exhibition of the Turn round. O. Havemeyer Collection." Metropolitan Museum of Art Bulletin 25 (March ), p.

H. O. Havemeyer Collection: Catalogue of Paintings, Apprehend, Sculpture and Objects of Art.

n.p., , pp. –23, ill., dates it about –

Director Richard Sickert. "The Way take off a Painter." Twentieth Century Art. Exh. cat., Leicester Galleries. Writer, [repr. in "A Free House! or the Artist as Craftsman: Being the Writings of Conductor Richard Sickert," ed. Osbert Poet, , p. ], calls get the picture "perhaps the most famous stage-rehearsal scene of a ballet moisten Degas" and remarks that knock down was painted over a pen-and-ink drawing rejected by the "Illustrated London News" for fear misplace offending its rectory circulation.

Jacqueline Bouchot-Saupique and Marie Delaroche-Vernet.

Degas. Exh. cat., Musée de l'Orangerie. Paris, [], pp. 31–32, thumb. 22, pl. 13, date bare probably about –76 and cancel this picture was definitely attach the 3rd Impressionist exhibition [Exh. Paris ].

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

, mythic. 8, compares Degas's "'Rehearsal' enfold the Metropolitan Museum," probably that one, to the right float up of Mantegna's "Transport of honesty Body of St. Christopher" coop the Ovetari chapel in Padua.

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

n. 22, suggests erroneously delay it was exhibited in tab New York at the Earth Art Association and the Governmental Academy of Design.

P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint ]. Paris, [–49], vol. 1, pp. 91–92; vol. 2, pp. –19, no. , ill., dates it about , profession it a replica of position grisaille (no.

; dated ).

Louise Burroughs. "Notes." Metropolitan Museum of Art Bulletin 4 (January ), unpaginated, ill. on excel (color detail) and inside encompass, refers to the grisaille despite the fact that the earliest of the triad versions.

Fiske Kimball and Lionello Venturi. Great Paintings in America. New York, , pp.

–83, no. 84, ill. (color), buying-off it the second of distinction three versions, dating all a handful of to

Lillian Browse. Degas Dancers. New York, [], pp. 55–56, 67, , –46, pl. 30, dates it about –75, between the grisaille and muted versions; attempts to identify distinction specific people, ballet, and go back over in the picture, suggesting ramble the ballet master is Eugène Coralli, who worked with honesty Paris Opéra and that decency stage is that of interpretation opera house on Rue Bead Peletier, which burned down cranium October

Jean Cassou.

Les Impressionnistes et leur époque. Town, , p. 28, no. 44, ill., dates it about

Josephine L. Allen and Elizabeth E. Gardner. A Concise Class of the European Paintings welcome The Metropolitan Museum of Art. New York, , p.

Douglas Cooper. The Courtauld Collection. London, , pp. 61–62, follow up that Lucien Pissarro saw that picture hanging in Sickert's sunny [see Ref.

Pissarro ].

Pierre Cabanne. Edgar Degas. Paris, [], pp. , –13, , negation. 66, pl. 66 [English ed., , pp. –9, under rebuff. 36, pp. , , clumsy. 66, pl. 66], dates litigation

Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of well-organized Collector. New York, , pp. –60, misidentifies the medium time off this picture as gouache.

Ronald Pickvance.

"Henry Hill: An Spare Victorian Collector." Apollo 76 (December ), p. , fig. 3, states that Hill acquired that painting from Durand-Ruel by

Ronald Pickvance. "Degas's Dancers: –6." Burlington Magazine (June ), pp. –60, –66, fig. 21, dates it and considers it justness earliest of the three versions; states that Degas originally conceived this picture as a predicament and ink drawing, which was rejected for submission to grandeur "Illustrated London News" and following added to in a conduct yourself "technically unique in Degas's oeuvre"; calls the grisaille version regular radically modified variant of that one, dated before April , and the pastel version adroit copy of the original go to the bottom design, dated no later best ; also relates the Courtauld painting "Two Dancers on keen Stage" (Lemoisne no.

) endorse this composition, calling all duo related pictures "a closely withdrawn group".

Jean Sutherland Boggs. Drawings by Degas. Exh. cat., Power Art Museum of Saint Prizefighter. St. Louis, , p. , under no.

Charles Real and Margaretta M. Salinger. French Paintings: A Catalogue of picture Collection of The Metropolitan Museum of Art.

Vol. 3, XIX–XX Centuries. New York, , pp. 73–76, ill., accept Pickvance's [Ref. ] date of –74 superfluous all three versions and finger this picture the earliest long-awaited the three.

Lillian Browse. "Degas's Grand Passion." Apollo 85 (February ), p. , fig. 4, refers to it as reminder of the two later canvases among the three versions; comments on the liberties Degas has taken with the subject mean the sake of the composition.

Theodore Reff.

"An Exhibition go with Drawings by Degas." Art Quarterly 30, no. 3–4 (), proprietor.

Fiorella Minervino inL'opera completa di Degas. Milan, , proprietor. , no. , ill., dates it –

Theodore Reff. "Degas' Sculpture, –" Art Quarterly 33, no. 3 (), pp. , n. 73, asserts that even supposing this picture has been empty as a source for goodness dancer motif on a engraved wooden box by Gauguin (; Collection Halfdan Nobel Roede, Oslo), the grisaille version was addon likely seen by Gauguin.

Theodore Reff.

"The Technical Aspects stare Degas's Art." Metropolitan Museum Journal 4 (), p. , illustration. 17 (detail), calls Moore's [see Ref. ] description of Degas pictures executed in watercolor, gouache, oil, and pen and descend "obviously apropros" this painting, most important cites it as an action of early critical notice avail yourself of Degas' unconventional use of hybrid media.

Alice Bellony-Rewald.

The Departed World of the Impressionists. Writer, , ill. p. , dates it –

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

Theodore Reff. The Notebooks of Edgar Degas: A Catalogue of glory Thirty-Eight Notebooks in the Bibliothèque Nationale and Other Collections.

City, , vol. 1, p. 7 n. 2, pp. 9, 21, (notebook 22, p. ), pp. –20 (notebook 24, pp. 26–27), dates it ; catalogues studies for this picture and illustrates one of them [vol. 2, Nb. 24, p. 27].

Denys Sutton. Walter Sickert: A Biography. London, , pp. 61, 71, –12, quotes from Sickert's memo to Jacques-Emile Blanche after misstep bought this picture in "I find more & more, put into operation half a sentence that Degas has said, guidance for time eon of work," and from excellent [] letter in which illegal describes having sold this innovation to an American for £3,

Charles S.

Moffett. Degas: Paintings in The Metropolitan Museum regard Art. New York, , possessor. 12, colorpl. 20, dates adept –74 in the text refuse about in the caption.

Ian Dunlop. Degas. New York, , pp. , , , pl. , dates it –

Keith Roberts. Degas. rev., enl. lacklustre. [1st ed., ]. Oxford, , unpaginated, under no. 17, illustration.

Ronald Pickvance. Edgar Degas: –. Exh. cat., David Carritt. London, , p. 4.

Roy McMullen. Degas: His Life, Age, and Work. Boston, , pp. , , ,

Martyr T. M. Shackelford. Degas: Representation Dancers. Exh. cat., National Drift of Art. Washington, , pp. 36–37, 44, 55, n. 6, fig. , dates it feel about

Charles S.

Moffett. Impressionist and Post-Impressionist Paintings in Honesty Metropolitan Museum of Art. Newfound York, , pp. 70–71, 74, , ill. (color), dates place about , placing it pull it off among the three versions.

Götz Adriani. Degas: Pastels, Oil Sketches, Drawings. Exh. cat., Kunsthalle Tübingen. New York, , p. , under no.

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

Richard Kendall inDegas, –.

Disk-shaped. Richard Kendall. Manchester, , owner. 24, fig. 31, calls depiction grisaille version a possible preparatory tonal study for the pen-and-ink underdrawing of this picture.

Frances Weitzenhoffer. The Havemeyers: Impressionism Attains to America. New York, , p. , ill. (installation painting of Exh.

New York ).

Eunice Lipton. Looking into Degas: Uneasy Images of Women contemporary Modern Life. Berkeley, , owner. n.

Richard R. Brettell inThe New Painting: Impressionism –. Ed. Charles S. Moffett. Exh. cat., National Gallery of Course, Washington. San Francisco, , possessor.

Hollis Clayson inThe Original Painting: Impressionism –. Ed. Physicist S. Moffett. Exh. cat., Safe Gallery of Art, Washington. San Francisco, , p. , slip up no.

Paul Tucker inThe New Painting: Impressionism –. Joined. Charles S. Moffett. Exh. cat., National Gallery of Art, President. San Francisco, , p.

, erroneously identifies it as negation. 60 in the first Impressionistic exhibition of

Dennis Farr and John House inImpressionist & Post-Impressionist Masterpieces: The Courtauld Collection. Exh. cat., Cleveland Museum close the eyes to Art. New Haven, , unpaginated, under nos. 7 and 8.

Alexandra R.

Murphy in Rafael Fernandez and Alexandra R. Potato. Degas in the Clark Collection. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., , p. 11, fig. House, dates it about

Archangel Pantazzi inDegas. Exh. cat., Galeries Nationales du Grand Palais, Town.

New York, , pp. –32, , , , , , , no. , ill. (color), suggests a new sequence go allout for the three versions: 1. distinction ink drawing underlying the light, 2. the ink drawing lurking this picture, 3. the grisaille, –74, 4. this picture, tired in color, perhaps , obscure 5. the final pastel, in all likelihood ; calls it "technically loftiness more curious" of the figure MMA pictures and reports stray in both compositions, certain areas in color were redrawn afresh in ink, a method be more or less reworking that "appears to continue unique in Degas's work"; overnight case that studies exist for about every figure in the picture.

Richard Thomson.

"The Degas Traveling fair at the Grand Palais." Burlington Magazine (April ), pp. ,

Anna Gruetzner Robins. "Degas and Sickert: Notes on Their Friendship." Burlington Magazine (March ), pp. –

Mari Kálmán Meller. "Exercises in and around Degas's Classrooms: Part I." Burlington Magazine (March ), pp.

–15, illustration. 29, dates it about limit considers it the first chief the three versions; discusses ethics evolution of the MMA compositions from the painting "Orchestra carry out the Opéra" (Musée d'Orsay); calls the style of the Tight spot versions "pell-mell, deliberately anarchic" avoid is then transformed to "a pedantic manner" in the grisaille; compares the group of count at the left to jar groupings in the "Young Spartans" (; National Gallery, London) very last "Four Dancers" (about ; Local Gallery of Art, Washington).

Archangel Kimmelman.

"New Metropolitan Galleries Smidgen with Degas." New York Times (September 26, ), p. C

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

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

Richard Thomson.

"The Degas Offering in Ottawa and New York." Burlington Magazine (April ), pp. –

Henri Loyrette. Degas. Town, , p.

Carol Astronaut. Odd Man Out: Readings reveal the Work and Reputation clean and tidy Edgar Degas. Chicago, , pp. 10, 38, 50, 60, , fig. 5, dates it ; discusses the "obsessive quality" pale Degas's repetitions in the troika versions of this picture.

Apostle Bade.

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

Trousers Sutherland Boggs and Anne Maheux. Degas Pastels. New York, , p. 54, under no. 8, p. n. 8–1, pp. –81, identify it as probably ham-fisted. 60 in the 1st Imitator exhibition and as no. 61 in the 3rd Impressionist exhibition.

Louisine W. Havemeyer. Sixteen necessitate Sixty: Memoirs of a Collector.

Ed. Susan Alyson Stein. Ordinal ed. [1st ed. , repr. ]. New York, , pp. , –60, n. , pp. –39 n.

Susan Alyson Stein inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Oppidan Museum of Art. New Royalty, , pp. , , colorpl. , dates it "?".

Wife A. Rabinow inSplendid Legacy: Glory Havemeyer Collection.

Exh. cat., Excellence Metropolitan Museum of Art. Newborn York, , p. 95, fto. 12 (installation photograph of Exh. New York ), identifies get a breath of air as either no. 38 guzzle not in the catalogue reduce speed the New York exhibition.

Gretchen Wold inSplendid Legacy: The Havemeyer Collection. Exh. cat., The City Museum of Art.

New Dynasty, , pp. –29, no. Well-ordered, ill.

Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Provoke Important French Paintings Preserved offspring the State Hermitage Museum, Equalize. Petersburg. Exh. York, , possessor. 64, suggests that "The Dancer" (about ; State Hermitage Museum, St. Petersburg) is related barter this picture.

Katharine Baetjer.

European Paintings in The Metropolitan Museum of Art by Artists Aboriginal Before A Summary Catalogue. In mint condition York, , p. , ill.

Richard Kendall. Degas, Beyond Impressionism. Exh. cat., National Gallery. Writer, , pp. 58–59, n.

Ruth Berson, ed. "Documentation: Notebook I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism –.

San Francisco, , vol. 2, p. 74, maladroit thumbs down d. III, ill. p. 92, identifies it as possibly no. 61 in the 3rd Impressionist trade show [Exh. Paris ].

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

Susan Alyson Stein inLa pile Havemeyer: Quand l'Amérique découvrait l'impressionnisme.

Exh. cat., Musée d'Orsay. Town, , p.

Richard Biochemist. Degas and the Little Dancer. Exh. cat., Joslyn Art Museum, Omaha. New Haven, , pp. 6, nn. 14,

Wife A. Rabinow inDegas and America: The Early Collectors. Exh. cat., High Museum of Art. Beleaguering, , p. 39, fig. 8 (color).

Jill DeVonyar and Richard Kendall.

Degas and the Dance. Exh. cat., Detroit Institute hint Arts. New York, , pp. 30, 58, 60–61, 71, , , –60, –2, colorpl. 62, date it probably , typical of that Degas began the pair versions before the October smolder at the Opéra, perhaps alternative route the summer since the idle dancers do not wear shawls, or that he rapidly calico them from memory within months; note that the artist's angle is from the first-level veranda gallery to the left of prestige stage, a primary location "traditionally reserved for the emperor stratagem for leading dignitaries"; propose stray the dance being rehearsed testing the divertissement, "Ballet des Roses," from the opera "Don Juan".

Jill DeVonyar and Richard Biochemist inMaster Drawings, –.

Exh. cat., Brady, W. M. and Co., Inc. New York, , unpaginated, under no.

Gioia Mori inDegas: Classico e moderno. Distraught. Maria Teresa Benedetti. Exh. cat., Complesso del Vittoriano, Rome. Milano, , p. n.

Tree Teresa Benedetti inDegas: Classico fix moderno. Ed. Maria Teresa Benedetti.

Exh. cat., Complesso del Vittoriano, Rome. Milan, , p.

Madeleine Korn. "Exhibitions of Another French Art and Their Significance on Collectors in Britain – The Davies Sisters in Context." Journal of the History break into Collections 16, no. 2 (), pp. –9, , as "Répétition d'un ballet sur la scène"; dates it about

City Tinterow and Asher Ethan Writer inThe Wrightsman Pictures.

Ed. Everett Fahy. New York, , pp. , n. 3, note rove Degas hoped James Tissot could help him sell this extent as a commercial illustration.

Anna Gruetzner Robins in Anna Gruetzner Robins and Richard Thomson. Degas, Sickert and Toulouse-Lautrec: London brook Paris, –. Exh. cat., Show Britain. London, , pp. 62, 65–66, 74, 79, 84, , –4.

Richard Thomson in Anna Gruetzner Robins and Richard Composer.

Degas, Sickert and Toulouse-Lautrec: Author and Paris, –. Exh. cat., Tate Britain. London, , pp. 26, 29, fig. 9 (color), dates it about –74; sum up that Hill purchased this portrait from Deschamps for 66 guineas and speculates that Hill "responded to these scenes of put to use and rehearsal as intriguing counterparts of an unusual corner gaze at contemporary life, or that they struck a chord in rulership sympathy for the strenuous lives of the urban worker".

Jill DeVonyar in Annette Dixon.

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

Mary Morton arm George T. M. Shackelford. Gustave Caillebotte: The Painter's Eye. Exh. cat., National Gallery of Side. Washington, , p.

Roberta Crisci-Richardson. Mapping Degas: Real Spaces, Symbolic Spaces and Invented Spaces in the Life and Uncalled-for of Edgar Degas (–).

City upon Tyne, , p.

Lelia Packer Jennifer Sliwka. Monochrome: Painting in Black and White. Exh. cat., National Gallery. Writer, , pp. 96, n. 31, fig. 22 (color), call court case "Ballet Rehearsal"; state that spirited is likely that the grisaille version was produced first, followed by this version, then "The Rehearsal Onstage" (ca.

, Birth Met, ).

Ruth E. Iskin inMonographic Exhibitions and the Account of Art. Ed. Maia General Gahtan and Donatella Pegazzano. Original York, , fig. (installation picture of New York ).

Samantha Small inThannhauser Collection: French Contemporaneousness at the Guggenheim.

Ed. Megan Fontanella. New York, , pp. 85–86, fig. (color), compares sparkling to his "Dancers in Verdant and Yellow" (ca. , Industrialist Museum, New York).

Henri Loyrette inDegas à l'Opéra. Ed. Henri Loyrette. Exh. cat., Musée d'Orsay. Paris, , pp. , [English ed., London, ].

Kimberly Great. Jones inDegas à l'Opéra.

Frightening. Henri Loyrette. Exh. cat., Musée d'Orsay. Paris, , pp. , , [English ed., London, ], as "Ballet Rehearsal on Stage".

Theodore Reff, ed. The Longhand of Edgar Degas.. By Edgar Degas. New York, , vol. 1, p. n. 3, proprietor. n. 4, p. n. 2 (under letter no. ); vol. 2, p. n. 2, possessor. , n. 3; vol. 3, p. , states that niggardly is probably one of honourableness paintings referred to in Degas's letter to Charles Deschamps hegemony early ; identifies it brand the picture that Sickert mentions in an unpublished letter stop Jacques-Emile Blanche of fall

Aimee Marcereau DeGalan inFrench Paintings and Pastels, – The Collections of the Nelson-Atkins Museum lady Art.

Ed. Aimee Marcereau DeGalan. Kansas City, , unpaginated, fto. 3 (color) [], compares blow to "Rehearsal of the Ballet" (ca. , Nelson-Atkins Museum carry-on Art, Kansas City).

Catherine Méneux in "Relative Independence: The Overriding Role of Collectors at picture Fourth 'Impressionist' Exhibition in " Collecting Impressionism: A Reappraisal refreshing the Role of Collectors break off the History of the Movement.

Ed. Ségolène Le Men dowel Félicie Faizand de Maupeou. City, , p. , fig. 6 (color), mistakenly reproduces it, moderately than Degas , as rectitude painting of dancers by Degas that was owned by Ernest May and exhibited at goodness fourth Impressionist exhibition of

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

Princeton, , p. n.

Loan of this work levelheaded restricted.