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Degas's Dancers at the Barre: Point and Counterpoint (Phillips Collection)
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About the Author
Eliza Rathbone is chief curator, The Phillips Collection. Elizabeth Steele is head of conservation, The Phillips Collection.
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Product details
Series: Phillips Collection
Hardcover: 144 pages
Publisher: The Phillips Collection (January 9, 2012)
Language: English
ISBN-10: 0300176325
ISBN-13: 978-0300176322
Product Dimensions:
8.2 x 0.8 x 11 inches
Shipping Weight: 1.8 pounds
Average Customer Review:
4.5 out of 5 stars
2 customer reviews
Amazon Best Sellers Rank:
#831,022 in Books (See Top 100 in Books)
This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 144 pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and the Dance" exhibition in Detroit and Philadelphia in 2002 and 2003, or for the "Degas and the Ballet: Picturing Movement" show from September to December 2011 at the Royal Academy of the Arts in London. Instead, it concentrates on one of The Phillips's star attractions, Degas's "Dancers at the Barre" (ca. 1900) and some other works in that painting's immediate artistic environment. A necessary course of conservation (the first since Duncan Phillips acquired the canvas in 1944) led to such insights into Degas's processes and methods--he worked and reworked the painting virtually obsessively over a period of more than fifteen years--that the curators decided to make it the centerpiece of a show and gathered about thirty other works in various media from other collections to put the "Dancers" into a wider context. All these works and many comparison illustrations are excellently reproduced and make the book a visual delight.Eliza Rathbone, Chief Curator at the Collection, writes (in an essay aptly subtitled "Years in the Making") about the evolution of the painting as it was changed and varied, conforming always to Degas's evolving aesthetic concerns and preoccupations until, in its final form, it epitomized some thirty years of work on the subject of dancers in oil, printmaking, sculpture and, increasingly, pastel. This is followed by Elizabeth Steele's report on the examination of the painting through stereomicroscopy, x-radiography and infrared reflectology, i.e., the various technical tools the conservator has at her hands to peer beneath the surface and reveal all the changes in attitude, position, posture, etc. that Degas made in his quest for the perfect expression. There is an essay on "Degas as Sculptor," with special reference to the dance sculptures in the exhibition, and an interview conducted by the ballet critic Robert Grescovic with the renowned dancer and choreographer Christopher Wheeldon on the latter's reactions to Degas's ballet paintings. The volume concludes with a short consideration of the other Degas pieces in the Phillips collection and the results of their technical analysis, a handy chronology of the artist's life, a checklist with specifications of all the exhibited works and catalogue illustrations, and a selected bibliography. All of this makes for a special celebration of a very special painting, and I can recommend this volume warmly to all aficionados of Degas and anyone with an interest in dance and its portrayal.
I gave this book as a gift. The person I gave it to reproduced several paintings. they are displayed in my dance studio. I love them.
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