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605:, the Hermitage Museum sought to become more open with the rest of the world by displaying these previously hidden artworks. Despite previous agreements between Russian and Germany in 1990 and 1992 to return unlawfully looted artworks, Russian officials argued that only artworks stolen by individual soldiers could be considered unlawfully taken, and that artworks taken under official orders did not need to be returned to their previous owners. To this day,
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413:. In the painting, Lepic and his two daughters are cropped out of frame at the waist. Another figure, a solitary man with a cane, is half cropped out of frame. Between the figures and the buildings is a large amount of negative space representing a nearly empty street. The dramatic cropping, the downward perspective, and asymmetrical composition may have been influenced by Japanese
358:. At the center-top of painting in the background is the monument dedicated to the city of Lille. Toward the right and almost entirely obscured by Lepic's hat is the monument dedicated to the city of Strasbourg. At the time that Degas created the painting, the monument to Strasbourg would have been draped in black to mourn the loss of the city to
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in the position where the man stands in the painting. An on location observation of the Place de la
Concorde, which has changed very little since the 1870s, from the same vantage point as the painting also reveal that there is a lamp post in the man's position. In the painting, Ludovic Lepic's two
1199:"COLUMN ONE : Displaying the Spoils of War : The Hermitage is about to exhibit Impressionist masterpieces the Soviet army took out of Nazi Germany. The dispute over who has a right to such 'trophy art' is fueled by the lure of big money and the bitterness of old foes"
206:. In the painting, Lepic walks though the square carelessly as his daughters move in the opposite direction. He is dressed fashionably, and he holds his umbrella under his arm and his cigar in his mouth as he walks. All of these details portray Lepic as the archetypal
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The painting was widely considered to have been lost following World War II. In 1994, following the collapse of the Soviet Union, the State
Hermitage Museum revealed that it was in possession of over 70 French Impressionist and Post-Impressionist paintings, including
1259:"For the first time since World War II, over 70 Impressionist and Post-Impressionist masterpieces secreted away in Russia, are being shown to the world at the Hermitage museum in St. Petersburg. The accompanying exhibit catalog, "Hidden Treasures Revealed""
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along the lower edge. The lower edge of the canvas has also been cut, which probably removed the signature. These modification were made by Degas himself after the painting had been well dried, most likely before the painting was sent to the
590:. Many of these artworks had never been exhibited before. Of the 74 paintings, 73 had been taken from private collections. Only one painging by Claude Monet had been taken from a public museum collection. Five of these paintings, including
225:. Lepic appears in eleven of Degas's artworks total, which is more than any other single individual outside of Degas's immediate family. The tall, solitary man on the left edge of the painting has been identified as the playwright
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in Berlin. The rest of the collection was stored elsewhere in the
Victoria firm and was destroyed in an air raid. After the war, the surviving paintings of Gerstenberg's collection were looted by the Soviet Union.
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of the painting revealed that both the umbrella and the dog were both fully completed underneath the two daughters, which could suggest that the daughters were not present in the painting's original composition.
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The painting has been noted for accurately capturing the two girls individual personalities. In the painting, Eylau, the older of the two girls, stands more confidently than her younger sister. Similarly, in a
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was never owned by
Ludovic Lepic and Edgar Degas likely did not paint it for him. The painting remained in the possession of Degas, who never exhibited it on his own, until it was sold to
496:. Additionally, there exists a photograph of Ludovic Lepic's dog Albrecht in a very similar position to that of the painting. It is probable that Degas used the photograph as a reference.
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The solitary man who has been partially cropped out of frame has been observed as being unusually tall. In a preparatory study that Degas made for the painting, there is a
492:. Many of Jouvin's photographs feature human figures and horse drawn carriages that are partially cropped out of frame in a similar manner to Degas's paintings, including
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Many art historians believe that the large amount of negative space, the cropping, and the way in which the figures are facing in random directions were influenced by
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The format of the painting has been altered from what it originally was when it was painted. A six or seven centimeter section of canvas has been folded behind the
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575:. The paintings had been locked in small storage room on the second floor of the museum, and had only been known to a handful of museum personnel.
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Hidden
Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by The State Hermitage Museum, St. Petersburg
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paintings that had been looted from private German collections by the Soviet Union during the war. Along with Edgar Degas's
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Mapping Degas: Real Spaces, Symbolic Spaces and
Invented Spaces in the Life and Work of Edgar Degas (1834-1917)
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Ludovic Lepic was a close friend of Edgar Degas's. The two likely met through their shared interests such as
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had been assumed to have been destroyed for almost five decades following World War II. In 1994, the
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purchased the painting from Durand-Ruel for 120,000 franks. The painting, along with the rest of
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Sculpture: The
Adventure of Modern Sculpture in the Nineteenth and Twentieth Centuries
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publicly announced that it was in possession of more than 70 French
Impressionist and
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Le
Normand-Romain, Antoinette; Pinegeot, Anne; Hohl, Reinhold; Rose, Barbara (1987).
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1052:(Revised 1974 ed.). Baltimore, Maryland: Penguin Books Ltd. pp. 198–202.
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942:(1994). "Degas as a Portraitist". In Baumenn, Felix; Karabelnik, Marianne (eds.).
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proved to be controversial due to its displaying looted artworks. Following the
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78.4 cm Ă— 117.5 cm (30.9 in Ă— 46.3 in)
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was exhibited in public for the first time in decades at an exhibition titled
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photograph, she stands much more proper and ladylike than her older sister.
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1017:. Berkeley and Los Angeles: University of California Press. pp. 54–55.
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In the background of the painting to the right, behind the wall, is the
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Impressionist Cats & Dogs: Pets in the
Painting of Modern Life
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660:"Degas: Place de la Concorde. From the Masterpieces Reborn series"
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Viscount Lepic and his Daughters Crossing the Place de la Concorde
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715:"CRITIC'S NOTEBOOK; A Show With Lessons Esthetic and Political"
151:, that had been looted from Germany by Soviet Forces. In 1995,
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911:. Geneva: Skira; London: Weidenfeld and Nicolson. p. 29.
623:– an earlier 1871 painting of the Lepic family by Edgar Degas.
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which displayed 74 looted paintings, including Edgar Degas's
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manner with her hands on her hips. Eylau was named after the
1326:"Edgar Degas and Ludovic Lepic: An Impressionist Friendship"
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338:. The building visible in the background to the left is the
1375:. Newcastle upon Tyne, UK: Cambridge Scholars Publishing.
210:. The red patch on his overcoat indicates his rank in the
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1290:"Revelations and Agonizing On Soviet Seizure of Artwork"
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In 1995, the Hermitage Museum held an exhibition titled
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982:. Washington, DC: National Gallery of Art. p. 45.
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Shackelford, George T.M. (2015). "Man in the Middle".
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A photograph of Ludovic-Napoléon Lepic's dog Albrecht.
1165:"Hermitage Reveals It Hid Trove of Impressionist Art"
1079:. New Haven: Yale University Press. pp. 65–68.
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prints, of which Degas was known to be a collector.
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can be seen in the background, behind a stone wall.
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1233:"STALIN'S GERMAN WAR TROPHIES DAZZLE THE ART WORLD"
1131:"Hermitage, in Its Manner, Displays Its Looted Art"
609:remains in the collection of the Hermitage Museum.
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401:Art historians have frequently noted the dramatic
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424:A photograph of the Place de la Concorde in 2010.
1525:Scene from the Steeplechase: The Fallen Jockey
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1443:– A video discussion about the painting from
948:. London: Merrell Holberton. pp. 42–43.
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135:. The man on the left may be the playwright
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366:. Depictions of urban exteriors such as in
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1330:Cleveland Studies in the History of Art
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979:Gustave Caillebotte: The Painter's Eye
504:Despite being the painting's subject,
342:, which at the time housed the French
1300:from the original on 29 December 2023
1288:Blumenthal, Ralph (23 January 1995).
1269:from the original on 29 December 2023
1209:from the original on 29 December 2023
1197:Knight, Christopher (20 March 1995).
1175:from the original on 29 December 2023
1141:from the original on 29 December 2023
874:from the original on 12 February 2023
670:from the original on 20 December 2016
7:
1743:After the Bath, Woman Drying Herself
512:. In 1911, the German art collector
1604:Ballerina Posing for a Photographer
1369:Crisci-Richardson, Roberta (2015).
1336:. Cleveland Museum of Art: 32–121.
1394:. New York: Harry N. Abrams, Inc.
1356:from the original on 13 March 2024
1257:Sardar, Zahid (12 November 1995).
1129:Erlanger, Steven (30 March 1995).
725:from the original on 14 March 2024
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1867:Paintings in the Hermitage Museum
1636:Miss La La at the Cirque Fernando
1429:Olga's Gallery biography of Degas
713:Russell, John (8 February 1995).
500:Provenance and exhibition history
1687:Café-Concert at Les Ambassadeurs
1440:Viscount Lepic and his Daughters
1163:Russell, John (4 October 1994).
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1778:Little Dancer of Fourteen Years
1644:Portraits at the Stock Exchange
1572:Ludovic Lepic and His Daughters
1541:At the Races in the Countryside
628:At the Races in the Countryside
435:Infrared and x-ray examinations
123:. It depicts the cigar-smoking
18:Place de la Concorde (painting)
1580:A Cotton Office in New Orleans
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1231:Hiatt, Fred (30 March 1995).
620:Count Lepic and His Daughters
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233:. Degas himself lived on the
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1390:Kostenevich, Albert (1995).
842:Meller, Mari Kálmán (2003).
354:which feature sculptures by
312:photograph, she stands in a
119:is an 1875 oil painting by
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1557:The Orchestra at the Opera
664:The State Hermitage Museum
485:Vues instantanées de Paris
458:Influence from photography
370:are rare in Edgar Degas's
322:General Joseph-Louis Lepic
1509:Young Spartans Exercising
1324:Buchanan, Harvey (1997).
639:Hidden Treasures Revealed
599:Hidden Treasures Revealed
584:Hidden Treasures Revealed
557:Henri de Toulouse-Lautrec
157:Hidden Treasures Revealed
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1862:Paintings by Edgar Degas
1073:Rubin, James H. (2003).
893:Crisci-Richardson (2015)
798:Crisci-Richardson (2015)
783:Crisci-Richardson (2015)
689:Crisci-Richardson (2015)
603:fall of the Soviet Union
518:Gerstenberg's collection
478:, for example, compared
386:Edgar Degas's study for
1882:Oil on canvas paintings
1517:The Collector of Prints
848:The Burlington Magazine
186:Edgar Degas's painting
27:Painting by Edgar Degas
1011:Boggs, Jean Sutherland
940:Boggs, Jean Sutherland
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192:Ludovic-Napoléon Lepic
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125:Ludovic-Napoléon Lepic
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405:and large amount of
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368:Place de la Concorde
344:Ministry of the Navy
196:Place de la Concorde
188:Place de la Concorde
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129:Place de la Concorde
110:Place de la Concorde
35:Place de la Concorde
1719:Young Woman in Blue
1703:Singer with a Glove
1501:The Bellelli Family
1049:Art and Photography
895:, pp. 170–171.
364:Franco-Prussian War
1813:The Impressionists
1652:The Millinery Shop
1294:The New York Times
1169:The New York Times
1135:The New York Times
1112:Kostenevich (1995)
1100:Kostenevich (1995)
1031:Kostenevich (1995)
1015:Portraits by Degas
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768:Kostenevich (1995)
719:The New York Times
701:Kostenevich (1995)
577:Mikhail Piotrovsky
541:Post-Impressionist
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340:HĂ´tel de la Marine
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1796:Marie van Goethem
1759:Ukrainian Dancers
1549:The Dancing Class
1382:978-1-4438-7449-6
1203:Los Angeles Times
1086:978-0-300-09873-0
1059:978-0-14-021722-3
989:978-0-226-26355-7
854:(1201): 273–281.
409:in Edgar Degas's
141:Tuileries Gardens
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1628:The Dance Lesson
1596:The Ballet Class
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474:. Art historian
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1317:Bibliography
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1877:Dogs in art
1823:(2009 play)
1746:(1890–1895)
1714:(1880–1882)
1663:(1882–1884)
1655:(1879–1886)
1565: 1870
1504:(1858–1867)
1486:Edgar Degas
1304:29 December
1273:29 December
1242:29 December
1213:29 December
1179:29 December
1145:29 December
472:photography
395: 1875
378:Composition
291: 1877
287: 1876
264: 1877
260: 1876
176: 1874
121:Edgar Degas
53:Edgar Degas
1851:Categories
1770:Sculptures
1620:L'Absinthe
1263:CT Insider
674:16 October
646:References
635:Otto Krebs
352:Strasbourg
289: – c.
262: – c.
163:Background
85:Dimensions
1536:(1868–69)
1493:Paintings
1342:1092-3934
860:0007-6287
443:stretcher
430:lamp post
314:tomboyish
1821:The Line
1533:Interior
1425:website.
1360:14 March
1354:Archived
1350:20079691
1298:Archived
1267:Archived
1207:Archived
1173:Archived
1139:Archived
1046:(1974).
1013:(1962).
995:17 March
961:15 March
924:15 March
878:14 March
872:Archived
729:14 March
723:Archived
668:Archived
613:See also
403:cropping
190:depicts
93:Location
76:Movement
1805:Related
1727:The Tub
1711:Waiting
1679:Pastels
1434:Degas'
1421:at the
868:3100666
448:gallery
415:Ukiyo-e
362:in the
360:Prussia
208:Flâneur
1789:Models
1781:(1881)
1754:(1897)
1738:(1886)
1730:(1886)
1722:(1884)
1706:(1878)
1698:(1877)
1690:(1877)
1671:(1889)
1647:(1879)
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372:oeuvre
223:ballet
204:France
139:. The
67:Medium
49:Artist
1346:JSTOR
864:JSTOR
348:Lille
295:Nadar
268:Nadar
219:opera
200:Paris
180:Nadar
133:Paris
1396:ISBN
1377:ISBN
1362:2024
1338:ISSN
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856:ISSN
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676:2023
350:and
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62:1875
59:Year
1438:or
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