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Essay / Research Paper Abstract
Each section (3pp) of this essay deals with a specific question related to
European Impressionism. The first section considers "ukiyo-e" influence
on the works of Cassat and Degas. (Bibliography lists 3 sources).
Section II considers the changing role of the nude, as seen in the painting Olympia by Manet (Bibliography lists 3).
Section III attempts to draw artistic conclusions from the relationship between Manet and his favorite model
Victorine Meurent. (Bibliography lists 5 sources.
Page Count:
9 pages (~225 words per page)
File: D0_BBimpres.doc.
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member, and one of the few recognized females of the Impressionist group. In Paris in 1874, she had a work accepted at the Salon, and in 1877 she met and
became friends with Degas. It has been claimed that the two were life-long friends, although their conflicting strong opinions often provoked long silences between them (Peterson 87).
His art and ideas had a considerable influence on her own work; he introduced her to the self-called "Independents," later known as the "Impressionists.
She participated in the exhibitions of 1879, 1880, 1881 and 1886, refusing to do so in 1882 when Degas did not.
Edgar Degas (1834-1917),as a young man he was greatly impressed by the disciplined style of neoclassical artist Jean-Auguste-Dominique Ingres, who reportedly advised him to "Draw lines, young man, draw lines."
Throughout his career Degas stressed the importance of careful composition and strong drawing. In contrast to the Impresionists like Monet and Renoir, who labored to capture the fleeting effects
of ight and atmosphere, his work was deliberate and controlled. He painted in the studio from sketches, notes, and memory (http://www.nga.gov).
What Degas shared with the Impressionists was an interest in modern life -- in Paris dance halls and cabarets, its racetracks, its opera and ballet stages. "You
need natural life," he told his landscape colleagues, "I, artificial life." In racehorses and ballet dancers he found the kind of movement that fascinated him most: not free and spontaneous,
but precise and disciplined. He also studied the simple, everyday motions of working women: milliners, dressmakers, and laundresses. Perhaps the language of cinema
...