Alexander and Bucephalus - Edgar Degas
Archival giclée
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Description
An early historical work by Edgar Degas, depicting the young Alexander the Great confronting his legendary horse, Bucephalus.
This early work by Edgar Degas captures a moment from the youth of Alexander the Great. The composition depicts the young prince confronting his untameable horse, Bucephalus, before his father, King Philip II. Unlike the later impressionist works for which the artist is known, this piece reflects his formal training at the École des Beaux-Arts and his deep study of the Old Masters. The influence of Italian Renaissance painters and the French classical tradition is evident in the structured arrangement of the figures and the dramatic use of light.
The scene is set against a muted, arid backdrop, with the figures arranged in a theatrical manner. Alexander stands to the left, his posture tense and alert, while the horse is partially obscured by the foreground action. To the right, a group of observers, including the king, watch the encounter. The palette is dominated by earth tones, ochres, and deep reds, which ground the mythological subject in a tangible, physical reality. Degas employs a controlled brushwork that prioritises form and narrative clarity over the fleeting atmospheric effects that would define his later career.
This painting serves as a record of the artist's engagement with historical themes during his formative years. It demonstrates his ability to manage complex multi-figure compositions and his interest in the psychological tension between human and animal subjects. The work remains a compelling example of the transition between traditional history painting and the more personal, observational style that Degas would eventually adopt. By focusing on the narrative weight of the encounter, the artist creates a sense of anticipation, capturing the moment just before the taming of the legendary stallion.
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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.
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Specific Features
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- 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
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
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- Keep in a dry, room-temperature space
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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
Alexander and Bucephalus - 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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