Racehorses in a Landscape - Edgar Degas
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Beschreibung
A study of jockeys and horses in a field, rendered in pastel by Edgar Degas in 1894.
Edgar Degas produced this work in 1894, a period when his interest in the movement and anatomy of horses occupied much of his creative output. The composition depicts a group of jockeys on horseback, moving across a grassy field. The figures are rendered with a focus on the rhythmic repetition of the horses' forms and the varied colours of the jockeys' silks. Degas employs a palette that balances the muted, earthy tones of the terrain with the more saturated hues of the riders' clothing.
The background features a rolling hill, treated with soft, atmospheric strokes that suggest distance without relying on rigid perspective. Degas, known for his meticulous observation, captures the posture of the riders and the tension in the horses' muscles. The medium of pastel allows for a textured surface, where the layering of pigment creates a sense of light filtering across the scene. Unlike his earlier, more formal depictions of the racetrack, this piece leans into a more observational, almost casual arrangement of figures.
This work reflects the artist's fascination with the intersection of human activity and animal form. By placing the subjects within a broad, open space, Degas shifts the focus from the competitive nature of the race to the physical coordination required by the riders. The work remains a clear example of his technical proficiency with pastel, a medium he favoured during his later years for its ability to combine drawing and painting. The signature in the lower left corner confirms the date of 1894, placing it firmly within his mature period of production.
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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
Racehorses in a Landscape - 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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