Portrait after a Costume Ball (Portrait of Madame Dietz Monnin) - Edgar Degas
Giclée de archivo
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Pago seguro
Hecho bajo pedido
Descripción
A candid, impressionist portrait by Edgar Degas depicting a woman in a pale blue gown, capturing a moment of quiet fatigue after a costume ball.
Edgar Degas painted this work, often identified as a portrait of Madame Dietz Monnin, around 1879. The composition captures a subject in a moment of social exhaustion following a costume ball. Degas employs a distinct perspective, placing the viewer in a position that suggests a fleeting, candid observation rather than a formal studio sitting. The subject wears a pale blue gown and a prominent dark boa, her expression conveying the fatigue associated with the late-night festivities of Parisian high society.
The painting demonstrates the artist's interest in artificial light and the psychological state of his subjects. The use of colour is particularly notable, with the cool tones of the dress contrasting against the warmer, muted background. Degas uses visible, rapid brushwork to define the textures of the costume and the soft glow of the environment. The presence of a mirror or reflective surface behind the figure adds a layer of complexity to the spatial arrangement, a technique frequently utilised by the artist to create depth and ambiguity.
Unlike many of his contemporaries who focused on outdoor scenes, Degas remained preoccupied with the interior lives of his subjects. This work avoids the idealised portraiture common in the nineteenth century, opting instead for a raw, honest depiction of a woman in a private, unguarded moment. The composition is cropped in a way that mimics the spontaneity of photography, a medium that influenced many of his artistic choices during this period. The work remains a clear example of his ability to transform mundane social encounters into compelling studies of human behaviour and light.
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Fabricación
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Cuidado y materiales
Características específicas
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- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
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Cuidado y limpieza
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Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Portrait after a Costume Ball (Portrait of Madame Dietz Monnin) - 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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