The Dance Class - Edgar Degas
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Beskrivning
A candid depiction of a ballet rehearsal at the Paris Opéra, capturing the dancers and their instructor in a moment of quiet, professional focus.
Edgar Degas produced this work during the 1870s, a period when he focused on the rigorous training of ballet dancers at the Paris Opéra. The composition captures a rehearsal in progress, directed by the ballet master Jules Perrot. Degas avoids the formal poses of traditional portraiture, opting instead for a candid, observational approach. The dancers are depicted in various states of activity: some are practising their positions, others adjust their costumes, and one sits in the foreground, rubbing her sore foot. This focus on the mundane reality behind the glamour of the stage is a hallmark of his practice.
The spatial arrangement is unconventional. Degas uses the diagonal lines of the floorboards and the placement of the dancers to create a sense of depth that draws the eye across the room. The mirror on the back wall adds another layer of complexity, reflecting the dancers and the room, which expands the perceived space of the studio. The palette is dominated by warm, ochre tones of the walls and floor, which contrast with the cool, white tulle of the tutus.
Degas was interested in the mechanics of movement and the physical toll of the profession. By placing the viewer in the position of an observer within the room, he invites an analysis of the environment rather than a staged performance. The presence of the ballet master, leaning on his cane, provides a sense of authority amidst the informal atmosphere. This work demonstrates his ability to combine precise draughtsmanship with the fleeting, atmospheric qualities associated with his contemporaries. It remains a primary example of his interest in the intersection of labour and art within the Parisian cultural sphere.
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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
The Dance Class - 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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