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230:. The green coloring of the painting is suggestive of an influence from English horse racing scenes. The driver's top hat and the presence of the bulldog also contribute to the "English character" of the painting. English styles were fashionable among the French upper classes at the time of the painting's creation.
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out of the bottom of the picture. The lower halves of the two horses' legs are also cropped out of the bottom of the picture, as is half of one of the horse's face. On the left side of the painting in the background, another horse-drawn carriage is also partially cropped out of frame. This style of
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is composed in such a way that it appears to have not been composed. The main focus of the painting, the Valpinçon family in their horse-drawn carriage, is placed off-center and fill most of the lower-right quarter of the picture. The lower halves of the wheels of the carriage are
223:. Edgar Degas did not use this style of cropping in his horse racing scenes before 1862, which was when this style of cropping first started to appear in photographs. This style of cropping was uncommon in painting in general before the invention of photography.
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back to Durand-Ruel. In 1926, Durand-Ruel sold the painting to the Museum of Fine Arts Boston for $ 30,000. The painting has remained as a part of the museum's collection ever since.
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Many art historians believe that the manner in which the horses and carriages are cropped in the painting are the result of influence of photography. Art historian
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views of the streets of Paris. In some of the photographs, horses and carriages are cropped out of frame in a similar way to the horses and carriage are in
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Other compositional features, such as the nearly flat horizon line and simplified houses, trees, and figures in the distance were influenced by imported
771:. New Haven: Yale University Press in association with the Metropolitan Museum of Art, New York and the Museum of Fine Arts, Houston. pp. 109–143.
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gave the painting a positive review, saying that it was "exquisite in color, drawing, the felicity of the poses, and overall finish."
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to ask about how the painting had been received in London. The painting had been purchased by the French singer and art collector
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Degas also depicted members of the Valpinçon family in other paintings during his visits to their estate. The 1865 painting
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in Paris by
Hippolyte Jouvin. Note the carriage in the lower-left corner that is partially cropped out of frame.
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In the summer of 1869, Edgar Degas visited Paul Valpinçon, an old childhood friend, at his estate in
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Degas has also been suggested to have taken influences from
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cropping makes the painting seem as if it were not a deliberate composition, but rather a
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760:(in French). Rue Lafayette, Paris: Librairie Centrale des Beaux-Arts. pp. 53–4.
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to visit relatives. In
October, the painting was sent to London and shown at the
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36.5 cm Ă— 55.9 cm (14.4 in Ă— 22.0 in)
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at the first
Impressionist exhibition at 35 Boulevard des Capucines in 1874.
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253:, in September of 1872. Less than a month later, Degas left Paris for
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140:. Valpinçon's son Henri had been born in January of the same year.
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Kendall, Richard (1993). "Degas and the
Impressionist Landscape".
494:"A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?)"
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Boggs, Jean
Sutherland (1988). "At the Races in the Countryside".
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378:(Fourth ed.). New York: Museum of Modern Art. p. 311.
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depicts the Valpinçon family during an outing to the races in
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688:. New York: The Metropolitan Museum of Art]. p. 84.
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Dayez, Anne; Hoog, Michael; Moffett, Charles S. (1974).
722:. Washington: National Gallery of Art. pp. 79–81.
663:(First ed.). New York: Harry N. Abrams. p. 52
261:. In November, while in New Orleans, Degas wrote to
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545:"Painting, Photography, and the Image of Movement"
184:of a scene that one has happened to stumble upon.
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116:is an 1869 oil painting by the French painter
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203:has compared this painting to an album of
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459:Tinterow, Gary; Loyrette, Henri (1994).
163:depicts the daughter of Paul Valpinçon.
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157:A Woman Seated beside a Vase of Flowers
519:"Portrait of Mlle. Hortense Valpinçon"
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816:A video discussion about the painting
685:Impressionism: A Centenary Exhibition
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1113:After the Bath, Woman Drying Herself
161:Portrait of Mlle. Hortense Valpinçon
974:Ballerina Posing for a Photographer
625:"Edgar Degas: Master of French Art"
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1006:Miss La La at the Cirque Fernando
343:"At the Races in the Countryside"
241:Exhibition history and provenance
191:A sterioscopic photograph of the
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124:. The painting was shown at the
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22:At the Races in the Countryside
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498:The Metropolitan Museum of Art
126:First Impressionist Exhibition
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623:Kinsman, Jane (Summer 2008).
657:Rich, Daniel Catton (1951).
523:Minneapolis Institute of Art
375:The History of Impressionism
16:1869 painting by Edgar Degas
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757:L'Art De Notre Temps: Degas
660:Edgar Hilaire-Germain Degas
317:– an important painting by
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927:The Orchestra at the Opera
347:Museum of Fine Arts Boston
211:taken by the photographer
209:Vues instantanées de Paris
122:Museum of Fine Arts Boston
94:Museum of Fine Arts Boston
879:Young Spartans Exercising
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235:Japanese woodblock prints
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1237:Paintings by Edgar Degas
754:Lemoisne, P. A. (1911).
462:Origins of Impressionism
1252:Oil on canvas paintings
887:The Collector of Prints
549:The Burlington Magazine
245:Edgar Degas first sold
29:Aux courses en province
589:Scharf, Aaron (1975).
543:Scharf, Aaron (1962).
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372:Rewald, John (1973).
272:Edgar Degas included
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113:Carriage at the Races
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298:Place de la Concorde
283:In 1893, Faure sold
1089:Young Woman in Blue
1073:Singer with a Glove
871:The Bellelli Family
592:Art and Photography
353:on 14 December 2023
314:Impression, Sunrise
267:Jean-Baptiste Faure
249:to his art dealer,
207:photographs called
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1022:The Millinery Shop
719:Degas at the races
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193:Porte Saint-Martin
152:during his visit.
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1166:Marie van Goethem
1129:Ukrainian Dancers
919:The Dancing Class
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935: 1870
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856:Edgar Degas
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391:14 December
357:14 December
255:New Orleans
167:Composition
118:Edgar Degas
48:Edgar Degas
1221:Categories
1140:Sculptures
990:L'Absinthe
574:21 October
326:References
132:Background
82:Dimensions
906:(1868–69)
863:Paintings
637:1323-4552
629:Artonview
561:0007-6287
401:cite book
128:in 1874.
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291:See also
182:snapshot
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90:Location
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1175:Related
1097:The Tub
1081:Waiting
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