Degas Edgar. Woman Combing Her Hair. Fine art postcard A6
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The woman is represented backwards. The artist finds an extraordinary harmony and inner composure in her at a first glance deliberately plain pose. These qualities, as well as the fine modeling of the body, smooth, gentle line of the woman’s silhouette and clear, light colouring of the picture charm the viewer. The artist owes the softness and juiciness of his pastel colouring to the profound studying of pastel “secrets” in the works of his predecessors. However, he brought a lot of new, much of his own, in that technique. He used the slightest nuances of one colour smoothly shaded pastel – the method dictated to him by the Ingres’s strictness and precision in painting, the mild play of shades enriched gradually by other colours and, at last, energetic bright colour dashes sharpening at once this or that form. Degas used a lot of his discoveries in the sphere of pastel in his painting, and he introduced some pure painting techniques into the works in pastel. There exist two more variants of this pastel: one in the private collection (Pennsylvania) and another in the Metropolitan Museum (New York). It is interesting that the pose of the woman resembles the central figure in the picture “Turkish Bath” by Dominique Ingres (the Louver, Paris), whose mastery Degas always worshiped.
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See also:
State Russian Museum
The Pushkin Museum of Fine Arts
Nicholas Roerich Museum New York
all
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Agni Publishing House (Samara, Russia), Nicholas Roerich Museum (New York) and Fine Arts Academy Gallery (Moscow, Russia) have published a unique album, dedicated to the pictorial heritage of Nicholas Roerich (1874-1947).
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Will be available on the second volume of a unique publication dedicated to the works of Nicholas Roerich (1874-1947).
The album was released by the publishing house "Agni" (Samara), with active cooperation of the Nicholas Roerich Museum in New York, as well as the Moscow Gallery Fine Arts Academy and the St. Petersburg State Museum and Institute of the Roerich Family.
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