14
Edgar DegasDanseuse rajustant sa coiffurePastell auf Zeichenpapier, auf festen Karton montiert 55,
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Beschreibung
Edgar Degas
Danseuse rajustant sa coiffure
Pastell auf Zeichenpapier, auf festen Karton montiert 55,8 x 36 cm Unter Glas gerahmt. Unten links mit der roten Stempelsignatur 'Degas' (Lugt 658) der Vente Atelier Degas, Paris 1918. - Insgesamt gebräunt mit schmalem Lichtrand. Kleine Randmängel.
Lemoisne 1385
Provenienz
Nachlass des Künstlers; Galerie Georges Petit, Paris, Atelier Degas, 2ème Vente, 11.-13. Dezember 1918, Lot 144; Galerie Nunès et Fiquet, Paris; Sammlung Adolphe Friedmann, Paris; Georges Friedmann, Paris; Artcurial, Paris, 20. April 2009, Lot 41; Privatsammlung Paris; Europäische Privatsammlung
Literatur
Atelier Edgar Degas (2ème Vente), Catalogue des Tableaux, Pastelset Dessins par Edgar Degas et provenant de son atelier, Galerie Georges Petit, Paris 11./12./13. Décembre 1918, Lot 144 mit Abb. S. 78
Die vorliegende, gut dokumentierte Pastell-Zeichnung aus dem 1918/1919 in Paris versteigerten Nachlass-Konvolut des Künstlers, ist eine der größer-formatigen späten Papierarbeiten. Motivisch konzentrierte sich Degas damals auf wenige vertraute Hauptthemen: Tänzerinnen, Frauenakte als Badende, bei der Toilette, sich Kämmende. Die Flüchtigkeit und Transparenz des gewählten Materials, des zeichnerischen Mediums, in dem der Künstler sehr früh zur Meisterschaft gelangte, erlaubte ihm bis in sein hohes Alter und trotz des dramatisch schwächer werdenden Augenlichtes bis 1910 noch immer eine große experimentelle Freiheit, die wiederum ihren Ausdruck fand in formaler Konsequenz, trotz vermeintlicher Leichtigkeit und Schwerelosigkeit des Eindrucks. Die Eigentümlichkeiten dieses Einzelgängers großer technischer und intuitiver Finesse, ein "Artist's Artist" schon zu Lebzeiten, hatte u.a. Stéphane Mallarmé schon 1876 charakterisiert. Er beschrieb Degas als einen "Meister der Zeichnung, der zarte Linienführungen sowie heftige und groteske Bewegungen sucht, die von einer fremdartigen neuen Schönheit sind." (zit. nach: Götz Adriani, Edgar Degas: Pastelle, Ölskizzen, Zeichnungen, Ausst. Kat. Tübingen/Berlin 1984, S. 18).
Im vorliegenden Werk skizziert Degas eine junge Balletteuse, die ihren langen Zopf mit über den Kopf erhobenen Händen ordnet. Großartig sind die Organisation der motivischen Angaben auf dem Blattformat, der scheinbar so schlichte Aufbau der Halbfigur, dazu der ungewöhnliche Blickwinkel von oben auf die Gestalt und die inszenierte, künstliche Beleuchtung. Türkisfarbene, grünliche Schraffuren unterschiedlicher Dichte setzen in der Fläche gegen die Figur intensive Farbakzente. Degas evoziert plastische Qualitäten, körperliches Volumen und in geschulter Beobachtung, eine natürliche wie "ungeschönte" Bewegung.
"Als mit dem beginnenden 20. Jahrhundert Teile einer jungen Künstlergeneration ein verändertes Kunstverständnis für sich reklamierten, hatte Degas fast unbemerkt bereits alle Prämissen für ein abgeklärtes und auf Vollkommenheit beruhendes Alterswerk aufgekündigt. In äußerster Konsequenz hatte er das Unvollständige, das Rudimentäre und Bruchstückhafte auf seinen Gestaltwert durchforstet und sich mit radikalen Formvereinfachungen sowie einer schroffen, verstörenden Materialsprache gegen einen in der Linienmelodik des Art Nouveau triumphierenden Zeitstil gestellt. [...] Es kam nicht mehr auf den Grad der Durchbildung im Einzelnen an. Allein wesentlich war die formale Durchdringung des Bildganzen, die in dem Maße prädestiniert war, zur Autonomie der Formsysteme beizutragen, wie Cézannes oder Monets farbige Dispositionen den Weg zur Autonomie der Farbsysteme wiesen. Auch war die Spontaneisierung der Darstellungsmittel nirgends derart fortgeschritten, die Freiheit der Gestaltung derart zum Prinzip gemacht worden und die Formwerdung dermaßen offenku
Full description on lot-tissimo.com
Edgar Degas
Danseuse rajustant sa coiffure
Pastel on drawing paper, mounted on firm card 55.8 x 36 cm Framed under glass. Red stamp signature 'Degas' (Lugt 658) from the Vente Atelier Degas, Paris 1918, lower left. - Overall browned with narrow light-stain. Minor marginal defects.
Lemoisne 1385
Provenance
Estate of the artist; Galerie Georges Petit, Paris, Atelier Degas, 2ème Vente, 11-13 December 1918, Lot 144; Galerie Nunès et Fiquet, Paris; Adolphe Friedmann collection, Paris; Georges Friedmann, Paris; Artcurial, Paris, 20 April 2009, Lot 41; Private collection, Paris; European private collection
Literature
Atelier Edgar Degas (2ème Vente), Catalogue des Tableaux, Pastelset Dessins par Edgar Degas et provenant de son atelier, Galerie Georges Petit, Paris 11./12./13. Décembre 1918, Lot 144 with illus. p. 78
This well-documented pastel drawing was part of the group of works from the artist's estate auctioned off in Paris in 1918/1919, and it is one of his larger-format late works on paper. In terms of subject matter, Degas concentrated on a few familiar primary motifs at that time: dancers and female nudes bathing, grooming themselves or combing their hair. The ephemerality and transparency of the selected material, the graphic medium which the artist had mastered very early in his career, still granted him great experimental freedom until 1910 - when he had already reached an advanced age and in spite of his dramatically worsening eyesight - and this freedom in turn expressed itself in formal rigour, in spite of its supposedly light and weightless impression. The peculiarities of this loner - who had great technical and intuitive finesse and was already an “artist's artist” during his lifetime - had already been characterised by Mallarmé, amongst others, in 1876. He describes Degas as a “master of drawing, who seeks out delicate lineations as well as vehement and grotesque movements possessing a strange new beauty.” (cited in: Götz Adriani, Edgar Degas: Pastelle, Ölskizzen, Zeichnungen, exhib. cat., Tübingen/Berlin 1984, p. 18).
In the present work, Degas has sketched a young ballet dancer, who is arranging her long braid with her hands raised above her head. The organisation of the indications defining the motif on the sheet of paper are magnificent: the seemingly so simple construction of the half-length figure, accompanied by the unusual viewing angle down on to the figure from above and the staged, artificial lighting. The turquoise and greenish hatching varies in density and establishes intense accents of colour on the plane, against the figure. Degas evokes three-dimensional qualities, the volume of the body and - observed with his well-trained eye - a natural as well as “unbeautified” movement.
“When, with the beginning of the 20th century, parts of a young generation of artists were laying claim to an altered understanding of art, Degas - almost without being noticed - had already rejected every premise for an idealised late body of work based on perfection. With the most extreme rigour, he had combed through the incomplete, the rudimentary and fragmentary to determine its formal value; with his radical simplifications of form as well as the harsh, disturbing language of his material, he had positioned himself against a period style triumphing in the linear melodiousness of Art Nouveau. [...] It was no longer a matter of the degree to which individual parts were completely developed. The only essential thing was the formal permeation of the picture as a whole, which was predestined to contribute to the autonomy of formal systems to the same extent that Cézanne's or Monet's chromatic dispositions pointed the way to the autonomy of chromatic systems. And nowhere else had the spontaneity of the means of representation progressed so far, the freedom of composition so firmly established itself as a principle and the becoming of form made itself so evident as in Degas's late work, which never arrived at stagn
Full description on lot-tissimo.com
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Edgar Degas
Danseuse rajustant sa coiffure
Pastell auf Zeichenpapier, auf festen Karton montiert 55,8 x 36 cm Unter Glas gerahmt. Unten links mit der roten Stempelsignatur 'Degas' (Lugt 658) der Vente Atelier Degas, Paris 1918. - Insgesamt gebräunt mit schmalem Lichtrand. Kleine Randmängel.
Lemoisne 1385
Provenienz
Nachlass des Künstlers; Galerie Georges Petit, Paris, Atelier Degas, 2ème Vente, 11.-13. Dezember 1918, Lot 144; Galerie Nunès et Fiquet, Paris; Sammlung Adolphe Friedmann, Paris; Georges Friedmann, Paris; Artcurial, Paris, 20. April 2009, Lot 41; Privatsammlung Paris; Europäische Privatsammlung
Literatur
Atelier Edgar Degas (2ème Vente), Catalogue des Tableaux, Pastelset Dessins par Edgar Degas et provenant de son atelier, Galerie Georges Petit, Paris 11./12./13. Décembre 1918, Lot 144 mit Abb. S. 78
Die vorliegende, gut dokumentierte Pastell-Zeichnung aus dem 1918/1919 in Paris versteigerten Nachlass-Konvolut des Künstlers, ist eine der größer-formatigen späten Papierarbeiten. Motivisch konzentrierte sich Degas damals auf wenige vertraute Hauptthemen: Tänzerinnen, Frauenakte als Badende, bei der Toilette, sich Kämmende. Die Flüchtigkeit und Transparenz des gewählten Materials, des zeichnerischen Mediums, in dem der Künstler sehr früh zur Meisterschaft gelangte, erlaubte ihm bis in sein hohes Alter und trotz des dramatisch schwächer werdenden Augenlichtes bis 1910 noch immer eine große experimentelle Freiheit, die wiederum ihren Ausdruck fand in formaler Konsequenz, trotz vermeintlicher Leichtigkeit und Schwerelosigkeit des Eindrucks. Die Eigentümlichkeiten dieses Einzelgängers großer technischer und intuitiver Finesse, ein "Artist's Artist" schon zu Lebzeiten, hatte u.a. Stéphane Mallarmé schon 1876 charakterisiert. Er beschrieb Degas als einen "Meister der Zeichnung, der zarte Linienführungen sowie heftige und groteske Bewegungen sucht, die von einer fremdartigen neuen Schönheit sind." (zit. nach: Götz Adriani, Edgar Degas: Pastelle, Ölskizzen, Zeichnungen, Ausst. Kat. Tübingen/Berlin 1984, S. 18).
Im vorliegenden Werk skizziert Degas eine junge Balletteuse, die ihren langen Zopf mit über den Kopf erhobenen Händen ordnet. Großartig sind die Organisation der motivischen Angaben auf dem Blattformat, der scheinbar so schlichte Aufbau der Halbfigur, dazu der ungewöhnliche Blickwinkel von oben auf die Gestalt und die inszenierte, künstliche Beleuchtung. Türkisfarbene, grünliche Schraffuren unterschiedlicher Dichte setzen in der Fläche gegen die Figur intensive Farbakzente. Degas evoziert plastische Qualitäten, körperliches Volumen und in geschulter Beobachtung, eine natürliche wie "ungeschönte" Bewegung.
"Als mit dem beginnenden 20. Jahrhundert Teile einer jungen Künstlergeneration ein verändertes Kunstverständnis für sich reklamierten, hatte Degas fast unbemerkt bereits alle Prämissen für ein abgeklärtes und auf Vollkommenheit beruhendes Alterswerk aufgekündigt. In äußerster Konsequenz hatte er das Unvollständige, das Rudimentäre und Bruchstückhafte auf seinen Gestaltwert durchforstet und sich mit radikalen Formvereinfachungen sowie einer schroffen, verstörenden Materialsprache gegen einen in der Linienmelodik des Art Nouveau triumphierenden Zeitstil gestellt. [...] Es kam nicht mehr auf den Grad der Durchbildung im Einzelnen an. Allein wesentlich war die formale Durchdringung des Bildganzen, die in dem Maße prädestiniert war, zur Autonomie der Formsysteme beizutragen, wie Cézannes oder Monets farbige Dispositionen den Weg zur Autonomie der Farbsysteme wiesen. Auch war die Spontaneisierung der Darstellungsmittel nirgends derart fortgeschritten, die Freiheit der Gestaltung derart zum Prinzip gemacht worden und die Formwerdung dermaßen offenku
Full description on lot-tissimo.com
Edgar Degas
Danseuse rajustant sa coiffure
Pastel on drawing paper, mounted on firm card 55.8 x 36 cm Framed under glass. Red stamp signature 'Degas' (Lugt 658) from the Vente Atelier Degas, Paris 1918, lower left. - Overall browned with narrow light-stain. Minor marginal defects.
Lemoisne 1385
Provenance
Estate of the artist; Galerie Georges Petit, Paris, Atelier Degas, 2ème Vente, 11-13 December 1918, Lot 144; Galerie Nunès et Fiquet, Paris; Adolphe Friedmann collection, Paris; Georges Friedmann, Paris; Artcurial, Paris, 20 April 2009, Lot 41; Private collection, Paris; European private collection
Literature
Atelier Edgar Degas (2ème Vente), Catalogue des Tableaux, Pastelset Dessins par Edgar Degas et provenant de son atelier, Galerie Georges Petit, Paris 11./12./13. Décembre 1918, Lot 144 with illus. p. 78
This well-documented pastel drawing was part of the group of works from the artist's estate auctioned off in Paris in 1918/1919, and it is one of his larger-format late works on paper. In terms of subject matter, Degas concentrated on a few familiar primary motifs at that time: dancers and female nudes bathing, grooming themselves or combing their hair. The ephemerality and transparency of the selected material, the graphic medium which the artist had mastered very early in his career, still granted him great experimental freedom until 1910 - when he had already reached an advanced age and in spite of his dramatically worsening eyesight - and this freedom in turn expressed itself in formal rigour, in spite of its supposedly light and weightless impression. The peculiarities of this loner - who had great technical and intuitive finesse and was already an “artist's artist” during his lifetime - had already been characterised by Mallarmé, amongst others, in 1876. He describes Degas as a “master of drawing, who seeks out delicate lineations as well as vehement and grotesque movements possessing a strange new beauty.” (cited in: Götz Adriani, Edgar Degas: Pastelle, Ölskizzen, Zeichnungen, exhib. cat., Tübingen/Berlin 1984, p. 18).
In the present work, Degas has sketched a young ballet dancer, who is arranging her long braid with her hands raised above her head. The organisation of the indications defining the motif on the sheet of paper are magnificent: the seemingly so simple construction of the half-length figure, accompanied by the unusual viewing angle down on to the figure from above and the staged, artificial lighting. The turquoise and greenish hatching varies in density and establishes intense accents of colour on the plane, against the figure. Degas evokes three-dimensional qualities, the volume of the body and - observed with his well-trained eye - a natural as well as “unbeautified” movement.
“When, with the beginning of the 20th century, parts of a young generation of artists were laying claim to an altered understanding of art, Degas - almost without being noticed - had already rejected every premise for an idealised late body of work based on perfection. With the most extreme rigour, he had combed through the incomplete, the rudimentary and fragmentary to determine its formal value; with his radical simplifications of form as well as the harsh, disturbing language of his material, he had positioned himself against a period style triumphing in the linear melodiousness of Art Nouveau. [...] It was no longer a matter of the degree to which individual parts were completely developed. The only essential thing was the formal permeation of the picture as a whole, which was predestined to contribute to the autonomy of formal systems to the same extent that Cézanne's or Monet's chromatic dispositions pointed the way to the autonomy of chromatic systems. And nowhere else had the spontaneity of the means of representation progressed so far, the freedom of composition so firmly established itself as a principle and the becoming of form made itself so evident as in Degas's late work, which never arrived at stagn
Full description on lot-tissimo.com
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Takuro Ito, Kilian Jay von Seldeneck, auctioneers
