Едгар Дега, 1880 година - Интимност - ликовна уметност

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Ремек-делото од 19 век е насликано од машки француската сликарот Едгар Дега во 1880. Припаѓа на колекцијата на Statens музеј за Кунст (Национална галерија на Данска), which is the largest museum of fine arts in Denmark and is attached to the Danish Ministry of Culture.. This modern art јавниот домен уметничките дела се вклучени со учтивост на Национална галерија на Данска.Кредитлин на ликовното дело: . Во прилог на ова, усогласувањето на дигиталната репродукција е пејзаж и има сооднос 4:3, што значи дека должината е 33% поголема од ширината. The photographer, poet, engraver, painter, sculptor Edgar Degas was an artist from France, whose style can primarily be classified as Impressionism. The European painter was born in 1834 а починал на возраст од 83 во годината 1917.

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Општ опис од веб-страницата на музејот (© Авторски права - од Statens Museum for Kunst (Национална галерија на Данска) - www.smk.dk)

Monotype in black. 119x161 mm

Degas’ figures are usually characterised by a distancing realism, by a vein of observation whose cool intensity seems less fascinated by the body’s erotic aura than by its simple, concrete existence as an object. This gaze appears to be a negative one; a gaze whose lack of mercy corroborates claims of Degas’ misogyny.

Socio-cultural interpretations of women Degas’ women are worn-out prostitutes, tired washerwomen, or unsightly dancers also bearing the marks of their profession. Degas’ choice of types and the manner of his presentation opens up his renditions of women to socio-cultural interpretations. They become images of social constructs, the constraints of which defines them and marks them through the lives they lead.

A socio-cultural coercion In this monotype, however, the female figure clearly and irresistibly radiates an erotic voluptuousness that Degas’ art can also include. The picture’s masquerade-like feel, its similarity to a stage wardrobe, defines the woman in relation to the waiting man, his gaze fixing her above the subtle sign of his cane. The space itself becomes an image of anticipated union, enfolding this relationship that has been brought about by socio-cultural coercion.