Rider in a Red Coat - Edgar Degas
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Beskrivning
A study of a horse and rider by Edgar Degas, featuring a striking red coat against a pale, warm background.
Edgar Degas, a central figure in the Impressionist movement, maintained a lifelong fascination with the horse. This work, Rider in a Red Coat, captures the subject from behind, a perspective that allows the artist to focus on the silhouette and the tension of the pose. The rider is depicted in a traditional hunting jacket, rendered in a striking, saturated red that contrasts against the pale, warm tones of the background and the horse's coat.
Degas utilised pastel to achieve a soft, atmospheric quality. The lines are economical, defining the form of the rider and the animal with minimal detail. By omitting a complex background, the artist directs the viewer's attention to the posture of the rider and the physical presence of the horse. The composition is cropped, a technique influenced by the advent of photography and Japanese woodblock prints, which Degas collected and studied throughout his career.
This piece reflects the artist's interest in movement and the mechanics of the body. Rather than a formal portrait, the image functions as a study of form and colour. The horse is sketched with light, gestural strokes, suggesting motion and weight without the need for heavy shading. The rider's posture, with one hand raised to adjust a hat, adds a sense of immediacy to the scene. This work demonstrates the artist's ability to capture a fleeting moment with precision and economy of means. It remains a clear example of his departure from traditional academic painting, favouring instead the observation of modern life and the study of specific, transient gestures.
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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
Rider in a Red Coat - 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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