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the work of other artists depicting female nudity in the sense that Degas contorts women's bodies in unusual positions to make viewers uncomfortable. This discomfort causes viewers to avert their gaze to respect the privacy of the subject depicted in this highly vulnerable, exposing moment. Degas, speaking about these works, said, he intended to create a feeling in the viewer: "as if you looked through a keyhole." Degas is believed to have frequently documented the lives of
Parisian women in brothels; therefore, he works to preserve their anonymity with the extensive use of shadows. This notion of "privacy and exclusion" of the subject parallels Degas's own desire to live a life in the shadows, hiding from the public and valuing his privacy. The woman's face is hidden, so the emphasis of the piece rests on the woman's nude body.
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218:(1970, Kunsthaus ZĂĽrich). The Tate Gallery says "For Bacon was indeed something of a talisman. It epitomised Degas's approach to a larger obsession the two artists shared with the plasticity of the body, its potential for the most varied forms of articulation, in movement and repose." The work was one of three central nudes chosen by Bacon in his "The Artist's Choice" exhibition at the National Gallery in 1985, shown between
109:. These beautiful, light colours perfectly embody the Impressionist ideals of the era. The drawing was made on several pieces of paper mounted on cardboard. Degas may have started with a smaller composition which he extended as he worked, requiring more paper. The artwork measures 103.5 Ă— 98.5 centimetres (40.7 Ă— 38.8 in).
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The work is part of a series of photographs, preliminary sketches and completed works in pastels and oils by Degas from this period. The series depicts women dancing or bathing, some showing women in awkward or unnatural positions. The art historian Carol
Armstrong argues that the series differs from
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Others critiqued Degas for his objectivity in portraying subjects, making his job scientific in nature rather than artistic. Degas captured extremely intimate moments with great precision and accuracy, choosing to not over-sexualise his subjects. Curator
Richard Kendall believed that Degas's works
263:. He praised Degas for rejecting the temptation to portray these women in an unrealistically idealised light; in which case, his works would have been widely commercially successful in their unchallenging state of capitalising on the beauty of the female nude body.
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The materials in the painting have been the subject of extensive technical analysis. Degas used a multitude of commercially available pastel crayons, many of which consisted of several individual pigments. Predominant pigments in this painting are
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were tactless in their depiction of the female nude. To them, these female nudes lacked any kind of idealisation, which deviated from the standard academic convention of portraying nude bodies in the most favourable light. Other critics, namely
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Edgar Degas often used photographs and sketches as a preliminary step, studying the light and the composition for his paintings. His use of light may be attributable to his deteriorating eyesight. Degas applied numerous pastel layers in
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chair, with her back to the viewer. Her body is arched and slightly twisted, creating a tension in her back, accentuated by the deep line of her backbone. One hand dries her neck with a towel, presumably after the woman exited the
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Degas's candid portrayal of women in vulnerable states caused controversy among art critics. Some critics believed that works from Degas's
Impressionist series, including
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in the corner of the room. The other arm holds onto the chair for support. The space is defined by the vertical and diagonal lines where the floor and walls meet.
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making the woman appear somewhat translucent. The heavily worked pastel creates deep textures and blurred contours, emphasizing the figure's movement.
21:
683:
Juzefovič, Agnieška. “Creative
Transformations in Visual Arts of Early French Modernism: Treatment of Nude Body.” Creativity Studies 9, no. 1 (2016)
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quoted Bacon thus: "I love Degas. I think his pastels are among the greatest things ever made. I think they're far greater than his paintings."
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in 1950 and was bought for the collection of the
National Gallery, London in 1959. A less highly worked example of a similar subject is in the
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point that the nude bodies were meant to exist "in a world of their own" and were not meant to be sexualised by the viewer. Degas's work,
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52:. This work is one in a series of pastels and oils that Degas created depicting female nudes. Originally, Degas exhibited his works at
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Hilaire-Germain-Edgar Degas | After the Bath, Woman drying herself | NG6295 | The
National Gallery, London
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508:"Creative Transformations in Visual Arts of Early French Modernism: Treatment of Nude Body"
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Armstrong, Carol M. "Degas, the Odd Man Out: The
Impressionist Exhibitions." In
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Armstrong, Carol M. "Edgar Degas and the
Representation of the Female Body." In
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served as a prime example of Degas's controversial style of depicting female nudity.
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were particularly special because they were so non-erotic in nature. This fuelled
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in 1886. Nine of Degas's pastel drawings of women at their bath were exhibited by
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48:, made between 1890 and 1895. Since 1959, it has been in the collection of the
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543:"Museum of Fine Arts Boston, with Comprehensive Exhibit of Edgar Degas Nudes |
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713:, Rothenstein Lecture 2011, Martin Hammer, 11 May 2012, Tate Papers Issue 17
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Museum of Fine Arts Boston, with
Comprehensive Exhibit of Edgar Degas Nudes
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Dawkins, Heather. “Decency in Dispute: Viewing the Nude.” Essay. In
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Odd Man Out: Readings of the Work and Reputation of Edgar Degas
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Odd Man Out: Readings of the Work and Reputation of Edgar Degas
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The work depicts a woman sitting on white towels spread over a
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623:. London, UK: National Gallery Publications. pp. 230–232.
121:
Degas included many works of female nudes bathing in the last
323:. Cambridge, UK: Cambridge University Press. pp. 65–85.
299:. Los Angeles, CA: Getty Research Institute. pp. 21–25.
145:, and other works in the series are in many public museums.
495:. Upper Saddle River, NJ: Prentice Hall. pp. 170–175.
716:
Meller, Marikálmán M. “Late Degas. London and Chicago.”
673:, 21–25. Los Angeles, CA: Getty Research Institute, 2003
690:, 230–32. London: National Gallery Publications, 1996.
402:. London: National Gallery Company, 2004, pp. 124-29
380:"How did the sexless Degas create such sexy images?"
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398:Bomford D, Herring S, Kirby J, Riopelle C, Roy A.
439:"Key facts: After the Bath, Woman drying herself"
63:continue to spark controversy among art critics.
680:, 65–85. Cambridge: Cambridge Univ. Press, 2002
603:A&A | After the bath – woman drying herself
804:Scene from the Steeplechase: The Fallen Jockey
56:in Paris, where he gained a loyal following.
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686:Kendall, Richard. “Women Bathing.” Essay. In
678:The Nude in French Art and Culture: 1870-1910
666:170–75. Upper Saddle River, NJ: Prentice Hall
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321:The Nude in French Art and Culture: 1870-1910
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641:, about 1890–5, Hilaire-Germain-Edgar Degas
417:, illustrated pigment analysis at ColourLex
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1141:Paintings in the National Gallery, London
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202:The work had a considerable influence on
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720:138, no. 1122 (September 1996): 615–17
651:, photograph, The J. Paul Getty Museum
656:After the bath – woman drying herself
648:After the Bath, Woman Drying Her Back
578:"Francis Bacon: Back to Degas | Tate"
469:After the Bath, Woman Drying Her Back
337:Meller, Marikálmán (September 1996).
273:After the Bath, Woman Drying Herself,
252:After the Bath, Woman Drying Herself,
161:After The Bath, woman drying her neck
74:After the Bath, Woman Drying Herself,
61:After the Bath, Woman Drying Herself,
7:
1022:After the Bath, Woman Drying Herself
639:After the Bath, Woman drying herself
414:After the Bath, Woman drying herself
135:After the Bath, Woman Drying Herself
41:After the Bath, Woman Drying Herself
30:After the Bath, Woman Drying Herself
883:Ballerina Posing for a Photographer
664:Readings in Nineteenth-Century Art,
378:Jones, Jonathan (30 October 2004).
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212:(1964, Centre Pompidou, Paris) and
206:, most noticeably on his triptychs
493:Readings in Nineteenth Century Art
163:(1895–1898) (Musée d'Orsay, Paris)
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915:Miss La La at the Cirque Fernando
966:Café-Concert at Les Ambassadeurs
339:"Late Degas. London and Chicago"
182:
168:
153:
1057:Little Dancer of Fourteen Years
923:Portraits at the Stock Exchange
851:Ludovic Lepic and His Daughters
820:At the Races in the Countryside
192:, pastel and charcoal on paper.
1146:Pastel drawings by Edgar Degas
859:A Cotton Office in New Orleans
215:Three Studies of the Male Back
59:Degas's nude works, including
1:
840:
525:10.3846/23450479.2015.1112854
238:. Art historian and curator
704:Francis Bacon: Back to Degas
506:Juzefovič, Agnieška (2016).
443:The National Gallery, London
688:Degas: Beyond Impressionism
621:Degas: Beyond Impressionism
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836:The Orchestra at the Opera
131:Galerie Boussod et Valadon
788:Young Spartans Exercising
619:Kendall, Richard (1996).
319:Dawkins, Heather (2002).
295:Armstrong, Carol (2003).
54:Impressionist exhibitions
400:Art in the Making: Degas
123:Impressionist exhibition
50:National Gallery, London
34:National Gallery, London
796:The Collector of Prints
718:The Burlington Magazine
346:The Burlington Magazine
209:Three Figures in a Room
44:is a pastel drawing by
149:Other similar postures
36:
24:
16:Pastel by Edgar Degas
891:Place de la Concorde
709:4 April 2015 at the
998:Young Woman in Blue
982:Singer with a Glove
780:The Bellelli Family
659:, Courtauld Gallery
1092:The Impressionists
931:The Millinery Shop
730:, 12 December 2011
643:, National Gallery
553:on 6 November 2014
512:Creativity Studies
491:Armstrong, Carol.
246:Critical reception
37:
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1075:Marie van Goethem
1038:Ukrainian Dancers
828:The Dancing Class
700:, 30 October 2004
694:Through a keyhole
352:(1122): 615–617.
269:Carol Armstrong's
143:Courtauld Gallery
137:was shown at the
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907:The Dance Lesson
875:The Ballet Class
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947:Dancers Onstage
939:Before the Race
867:The Dance Class
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449:on 4 March 2015
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1115:Degas (crater)
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1111:(2014 musical)
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555:. Retrieved
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518:(1): 25–41.
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1102:(2009 play)
1025:(1890–1895)
993:(1880–1882)
942:(1882–1884)
934:(1879–1886)
844: 1870
783:(1858–1867)
765:Edgar Degas
46:Edgar Degas
32:, 1890–95,
26:Edgar Degas
1130:Categories
1049:Sculptures
899:L'Absinthe
632:References
453:19 October
235:Entombment
198:Influences
113:Background
815:(1868–69)
772:Paintings
220:Velázquez
133:in 1888.
92:Materials
1151:Nude art
1100:The Line
812:Interior
707:Archived
86:tin bath
1084:Related
1006:The Tub
990:Waiting
958:Pastels
588:24 July
557:24 July
67:Artwork
1068:Models
1060:(1881)
1033:(1897)
1017:(1886)
1009:(1886)
1001:(1884)
985:(1878)
977:(1877)
969:(1877)
950:(1889)
926:(1879)
918:(1879)
910:(1879)
902:(1876)
894:(1875)
886:(1875)
878:(1874)
870:(1874)
862:(1873)
854:(1871)
831:(1870)
823:(1869)
807:(1866)
799:(1866)
791:(1860)
358:887263
356:
107:ochres
81:wicker
354:JSTOR
342:(PDF)
279:Notes
590:2014
559:2014
455:2018
228:and
105:and
520:doi
350:138
232:'s
222:'s
129:at
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
