Harlequin and Colombina - Edgar Degas
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Beskrivning
A study of theatrical performance by Edgar Degas, capturing the interaction between Harlequin and Colombina in soft, layered pastel tones.
Edgar Degas, a central figure in the Impressionist movement, frequently turned his attention to the theatre and the ballet. This work, Harlequin and Colombina, captures a moment of performance, drawing upon the traditions of the Commedia dell'arte. The composition features a male figure dressed in the iconic diamond-patterned costume of Harlequin, reaching towards a female dancer, Colombina, who is attired in a tutu.
Degas utilised pastel as his primary medium here, a technique he favoured for its ability to convey texture and light. The application of colour is layered, creating a soft, atmospheric quality that blurs the boundaries between the figures and the stage background. The Harlequin figure is depicted in a dynamic, lunging pose, while Colombina appears to recoil or turn away, suggesting a narrative tension between the two characters.
Unlike many of his contemporaries who focused on outdoor scenes, Degas was preoccupied with the artificial light of the stage and the disciplined movements of performers. His interest lay in the mechanics of the body and the artifice of the theatre. The palette is dominated by muted greens, ochres, and blues, which serve to unify the scene. The background is rendered with loose, gestural strokes, providing a sense of depth without distracting from the primary subjects. This piece reflects the artist's fascination with the intersection of movement, costume, and performance, themes that recur throughout his extensive body of work. By focusing on the theatricality of the scene, Degas invites the viewer to observe the artifice of the stage, rather than a naturalistic depiction of life.
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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
Harlequin and Colombina - 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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