Landscape with Hills - Edgar Degas
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Beschreibung
A soft, atmospheric pastel study of rolling hills by Edgar Degas, capturing the French countryside through a muted, impressionistic lens.
During the early 1890s, Edgar Degas turned his attention toward the French countryside, producing a series of monotypes and pastels that departed from his usual focus on urban life and ballet dancers. This work captures a rolling terrain, rendered with the soft, atmospheric qualities characteristic of his late-career experimentation with pastel media. Rather than seeking precise topographical accuracy, Degas prioritised the interplay of light and texture across the undulating ground.
The composition relies on a layered approach, where the foreground gives way to a hazy, distant horizon. The application of pastel allows for a blurred, dreamlike quality, where the edges of the hills soften into the sky. Degas utilised a palette of muted greens, ochres, and pale violets to suggest the changing conditions of the atmosphere. The mark-making is varied, ranging from dense, layered strokes in the foreground to lighter, more ethereal applications in the upper register of the paper.
This piece reflects the artist's interest in memory and imagination. By this stage in his career, Degas often worked from his own recollections of travel, allowing him to manipulate the scene to suit his aesthetic goals. The result is a study of form and colour that feels detached from specific time or place. It offers an insight into the private, contemplative side of an artist frequently associated with the bustling theatres of Paris. The work remains a fine example of how Degas applied his technical mastery of pastel to subjects outside his typical repertoire, demonstrating a fluid approach to the natural world.
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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
Landscape with Hills - 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.
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