Woman Ironing - Edgar Degas
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Beschreibung
A study of a laundress at work, capturing the physical reality of Parisian life through muted tones and expressive brushwork.
Edgar Degas produced a series of works depicting laundresses at their labour during the 1870s and 1880s. This particular composition captures a woman engaged in the repetitive, physically demanding task of ironing. Unlike the idealised portrayals of domestic life common in earlier academic painting, Degas focuses on the reality of the working class in Paris. The figure is positioned behind a large table, her posture suggesting the weight she applies to the iron. Her expression is one of fatigue, yet she remains focused on the task at hand.
The palette is restrained, relying on muted tones of white, cream, and dark brown to define the space. Degas uses loose, visible brushwork to suggest the texture of the linen and the atmosphere of the room. The background is simplified, allowing the viewer to concentrate on the physical presence of the woman. The lighting is soft, catching the folds of the fabric and the contours of her arms.
Degas often observed these women in their workshops, sketching them in candid moments. This approach aligns with his interest in modern life and the urban environment. By choosing a subject from the margins of society, he provides a glimpse into the daily routines that sustained the city. The composition is balanced, with the horizontal line of the table providing a firm base for the vertical form of the woman. This work is an example of his ability to find aesthetic value in mundane activities, treating the laundress with the same level of attention he afforded his more famous subjects, such as ballet dancers or racehorses.
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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
Woman Ironing - 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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