Jockeys before the Start with Flagpole - Edgar Degas
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
A study of horse racing by Edgar Degas, featuring an unconventional composition bisected by a vertical flagpole.
Edgar Degas frequently returned to the subject of horse racing throughout his career. This work captures the tension and anticipation of the moments preceding a race. The composition is notable for its unconventional framing, which is a hallmark of Degas's interest in photography and Japanese woodblock prints. A vertical flagpole bisects the scene, forcing the viewer to look past this obstruction to observe the jockeys and their mounts. This device creates a sense of voyeurism, as if the spectator is catching a fleeting glimpse of the activity from an obscured position.
The colour palette is dominated by pale, atmospheric tones that suggest a hazy, sun-drenched day at the track. The light is diffused, softening the contours of the horses and riders while allowing the figures to emerge from the background. Degas uses a combination of precise observation and looser brushwork to render the anatomy of the horses and the posture of the jockeys. The horse in the foreground is rendered with particular attention to its muscular form, while the figures further back are suggested with more economy of detail.
Unlike many of his contemporaries who focused on the spectacle of the race itself, Degas was drawn to the preparatory stages. He observed the jockeys as they warmed up, adjusted their gear, or waited for the signal to begin. This focus on the mundane or transitional moments provides a different perspective on the sport. The work reflects the artist's ability to transform a contemporary scene into a study of movement, light, and spatial relationships. By placing the flagpole in the immediate foreground, Degas disrupts the traditional pictorial space, inviting the viewer to engage with the scene in a more active and analytical manner.
Rückgaberecht
Da jeder Druck auf Bestellung gefertigt wird, bieten wir keine Rücksendungen, Rückerstattungen oder Umtausche aufgrund von Meinungsänderungen an. Sollte Ihre Bestellung fehlerhaft, beschädigt oder falsch ankommen, ersetzen wir sie kostenlos – kontaktieren Sie uns einfach innerhalb von 48 Stunden nach Lieferung. Vollständige Details finden Sie auf unserer Rückerstattungsseite.
Versand
Wir versenden weltweit und drucken im Produktionszentrum in der Nähe Ihrer Lieferadresse. Lieferzeiten und -kosten variieren je nach Zielort – die Ihnen zur Verfügung stehenden Optionen werden Ihnen an der Kasse angezeigt.
Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Jockeys before the Start with Flagpole - Edgar Degas
Artist Biography
Edgar Degas
More than half of his entire output depicts dancers. He became a fixture at the Paris Opera, watching from the wings and from boxes above the stage, sketching not the performance but the work behind it: the stretching, the waiting, the adjusting of shoes, the corrections from the ballet master. The backstage fatigue interested him more than the applause.
In 1881, he exhibited Little Dancer Aged Fourteen, a two-thirds life-size wax figure of Marie van Goethem, a real student at the Opera ballet school. She wore a real tutu, real ballet slippers, and a wig of human hair, all coated in wax. Critics called it repulsive. One described the girl as having a face marked by the hateful promise of every vice. Wax was a material for anatomical specimens, not art. It was the only sculpture he exhibited in his lifetime. After his death, 150 more wax figures were found in his studio, many falling apart.
His eyesight began failing during the Franco-Prussian War. By his forties he had lost central vision. By fifty-seven he could not read. The deterioration drove him from fine brushwork to bolder strokes, then to pastels, then to sculpture he could work by touch. He avoided daylight and painted under controlled artificial light. Collectors joked they should chain their Degas paintings to the wall, because he would try to take them back to rework them. He compulsively revised everything.
He disliked being called an Impressionist. He preferred Realist or Independent. He never painted outdoors, which was supposedly the whole point of the movement. Despite this, he co-founded the group, organised their exhibitions, and showed in all eight. He said: there is love and there is art and we only have one heart. He never married.
Warum uns wählen?
Garantie für beschädigungsfreie Lieferung
Schneller Versand
Museumsreife Materialien
Das könnte Ihnen auch gefallen