Self-Portrait - Edgar Degas
Archival giclée
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Description
An early, introspective self-portrait by Edgar Degas, painted in a realist style with dramatic lighting and a solemn, direct gaze.
This early self-portrait by Edgar Degas captures the artist as a young man, long before his association with the Impressionist movement. Painted around 1855, the work reflects his formal training and his admiration for the Old Masters. Degas, who was in his early twenties at the time, presents himself with a serious, contemplative expression. The composition is stark, focusing entirely on the head and shoulders against a dark, undefined background. This choice directs the viewer's attention to the subtle modelling of his features and the play of light across his face.
The lighting is dramatic, reminiscent of the chiaroscuro techniques employed by artists such as Rembrandt or Velázquez. A single light source from the left illuminates the side of his face, leaving the right side in shadow. His gaze is direct, meeting the viewer with a sense of quiet intensity. The brushwork is controlled and precise, showing the discipline of his academic education at the École des Beaux-Arts. He wears a simple, light-coloured smock over a dark garment, with a hint of a red tie visible at the collar. The texture of the fabric is rendered with soft, muted tones, maintaining the focus on his youthful, yet solemn, countenance.
Unlike his later works, which often feature the movement of dancers or the bustle of Parisian life, this portrait is static and introspective. It offers a glimpse into the artist's formative years, revealing his technical proficiency and his early interest in psychological depth. The painting is a study in restraint, avoiding unnecessary detail to capture the essence of the subject. It remains a significant example of his early oil painting, demonstrating the foundational skills that would eventually allow him to experiment with more radical techniques and subjects in the decades that followed.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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
Self-Portrait - 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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