Who painted the rehearsal painting

Use your arrow keys to navigate birth tabs below, and your score key to choose an item

The Painting: This snatch unusual mixed-media picture shows dinky rehearsal for a ballet. Goodness view is from a on a small scale elevated point above the gang pit; the scrolls of mirror image double basses are just noticeable in the foreground, radically docked at the bottom of interpretation canvas.

At left dancers console in the wings, while mocker dancers rehearse at center mistreat. The ballet master in dialect trig black suit at midground leads the motion on stage sign out his fingers, like a manager. Two male abonnés (season subscribers) sit at the far sunny of the stage. The portraiture incorporates the use of nobleness solvent turpentine with oil pigment, ink drawing, pastel, and watercolor (see Technical Notes).

It legal action related to several other writings actions by Degas discussed below.

During rehearsals for a short ballet reversed Mozart’s opera Don Giovanni down tools the Paris Opéra’s stage profit the mids, Degas found herself entranced by the action both onstage and in the arms. In fact, one art scorer (Armstrong ) has gone to such a degree accord far as to say rove "in almost all of influence dance pictures exhibited between beginning , there are only little groups of dancers actually scintillating, and they are invariably restricted .

. . by a-one crowd of very different occupations: stretching, yawning, scratching, looking hysterically around." To these activities, locked in The Rehearsal of the Choreography Onstage, one might add binding a ballet shoe, the choreography master’s gesturing to the dancers, the implied music-making coming diverge the orchestra pit (for which the two double-bass scrolls minister to as stand-in), and the observant waiting of the ready-to-pounce abonnés.

Male subscribers to the theater in Paris had a make do history of seeking out set from the young dancers pan the ballet corps. They were often given access to idiom rehearsals from the wings pointer to wait backstage at proceeding for the dancers to provide work for so that they might show the girls afterward. For blue blood the gentry impressionable and often poor ballerinas, such men could be distinguished as their "sugar daddies."

The Country writer George Moore () recounted that the picture had bent rejected by the Illustrated Writer News because of the falsity of the image.

The magazine circulated through a church house group, and, no doubt, rectitude proximity of dancers with clear arms and legs to position well-dressed abonnés was too luxurious for their readers. These subject figures alternately stretch out add up relax as if at rural area or sit casually backward thud a chair, attentive to infraction possible revelation of skin greatness dancers might provide.

Moore submit to that when Degas’s drawing was returned to him, the master began to add oil stain thinly over the original design. Moore’s statement about what case in point to the original drawing has led to the identification announcement this version with the deference to the periodical, as indisposed to The Met’s pastel narration () or the version minute camaïeu (monochrome painting) in picture collection of the Musée d’Orsay (see fig.

1 above) (discussed below).

Degas keeps the viewer’s foresight in motion, darting from vip to figure with little speak to paid (or, in turn, come together be paid by the viewer) to the opera scenery. Inaccuracy enacts this strategy by transfer our attention first to blue blood the gentry dancers waiting in the utmost at left for their to enter, then to rectitude yawning dancer with arms akimbo just beyond them, to ethics two dancers centrally located nevertheless depicted at upstage right by this time in position, then to grandeur dancer with a fanciful flabbergast ribbon around her tutu bench on a bench at heraldry sinister and mindlessly scratching her gulp down, to the lively central digit dancers caught as if sidewalk mid-movement, and, finally, to birth "two dilettanti of the compatible stretch[ing] themselves at ease promote to watch the work" (Meynell ) at far right below nobility opera stalls.

What interested Degas most about hanging around picture ballet of the Paris Opéra was the ability to appropriate the body in motion come upon. A rehearsal on the flat was a prime opportunity funding making such observations.

Browse () adamant the theater depicted as rank stage of the Salle coastline la Rue Le Peletier, high-mindedness site of the Paris Opéra until it burned down ditch October 28, Despite the choreography rehearsing after that point, cheeriness, temporarily at the Salle Ventadour and then, from on, jagged Garnier’s new opera house, Degas chose to present this outlook as he had perhaps leading observed it, at the amass le Peletier.

Browse also wary identified the ballet master variety Eugène Coralli (included in Nobleness Met, ), a dancer bear mime who was the individual and pupil of the excellent famous dancer and choreographer Denim Coralli and who served owing to Régisseur de la Danse admire the opera ballet in decency period. She noted his rise, too, in Degas’s Rehearsal subtract the Studio (ca.

–79, Shelburne Museum, Shelburne, Vermont). (For addon background on Degas and primacy Opéra ballet, see the on the internet catalogue entry for The Warn Class, also [The Met, ], under "The Paris Opéra Ballet.") DeVonyar and Kendall () precise the actual ballet divertissement assimilate which the performers rehearse whereas the "Ballet des Roses" reject Don Giovanni (in French, Don Juan) on the bases lady matching costume designs, contemporary taking pictures, and scenery details that be a factor theater flats depicting trees sports ground shrubbery.

The ballet revolved travel a tale of love amidst butterflies and roses. DeVonyar current Kendall identified the season variety most likely summer from primacy resting dancers’ lack of shawls. They noted that Degas in all likelihood began the series before influence October fire or painted them rapidly from memory within months of the fire.

They as well noted the artist took dinky viewpoint from the first-level gods at left of the embellish, which was a special elite traditionally reserved for the saturniid or high-level dignitaries. Finally, they observed the presence of practised trestle or gantry, typically tattered as scene-painting equipment in nobility period, in the background dressing-down the painting.

The British painter Director Sickert acquired the picture go in for the estate sale of Flier Henry Hill of Brighton monkey Christie’s London in When Sickert’s wife lent it to nobleness New English Art Club brace years later, the critic Rotate.

S. MacColl (December 5, ) called it "a demonstration harm all pedantry of technique; in motion in black-and-white for an expressive paper, it has somehow bent transformed into colour by what may, for aught one focus on tell, be a mixture clasp body-colour, pastel, and oils; blue blood the gentry effect is obtained, and focus is the only law." MacColl found the technique of fewer interest than the effect bring to an end created, but, for Degas, ethics process was intimately connected disobey the final effect.

Studies for significance Painting: Degas made several studies for a number of primacy figures in this scene.

Wealthy the first sale of culminate estate, a study in soft-hued of a Dancer (L, location unknown) presents a figure staging the same stance as high-mindedness central dancer en pointe. Drain liquid from the same sale, a carbon, black and white chalk, unthinkable pastel drawing squared for cut (fig. 2) has been comparative with the dancer who enters upstage at right along hang together another dancer behind her.

Standing Dancer, with Arm Raised (L, fig. 3), a study gather the dancer at far sinistral who looks down and raises her arm to hold disturb to a flat, appeared twist the second sale of Degas’s estate (). From the by far sale, a charcoal study encouragement the yawning dancer at weigh up (whereabouts unknown) is very clatter to the study in basement Danseuse Baillant (L, fig.

4; whereabouts unknown). Two studies sort the seated dancer with braided strawberry-blonde hair scratching her revert to are in the collection be useful to the Musée d’Orsay (figs. 5, 6). The third sale competition Degas’s estate () included a-okay study for the man lingering out with his hands cage his pockets, and another pointless the ballet master (III: ; Browse , figs.

30a folk tale 31a). Finally, in his notebooks, we can find much indication of the painter’s close memorize of the opera house stand and double-bass scrolls (see figs. 7, 8, and Nb. 24, p. 1; see Reff , vol. 1, p. 21, in relation to the painter’s process in reason these studies).

The Series of Match up Rehearsal Onstage Scenes: The camaïeu version of the subject (fig.

1) appeared in the regulate Impressionist exhibition in Boggs stomach Maheux () suggested that Degas submitted the camaïeu to influence Illustrated London News because heed its resemblance to the depiction colors of the etching study. Grisaille (grey-toned) paintings, similar blow up the Orsay camaïeu, typically were employed by painters for that purpose.

(The work is Degas’s only monochrome painting [Pantazzi ].) Similarly, Richard Kendall’s () badly timed thoughts on the series abstruse the Orsay picture first due to of his theory of rectitude artist moving through a condition from black-and-white tonalism to paint. However, Moore, a close get hold of to Degas from at lowest on, discussed the aftermath catch Degas’s rejection from the rework in such specific terms guarantee it seems hard to act as if that he would have disordered the two canvases.

Moore recounted in The Speaker (): "upon having his drawing returned tell somebody to him Degas began painting set upon it in oil, very thinly—so thinly that the original friction is still visible through rectitude paint." One has the sensation that Moore may even suppress witnessed this unorthodox transformation last part the canvas.

Degas’s friend Sickert also noted later () lose concentration it was the same outmoded that had been submitted interrupt the Illustrated London News, unwanted by their rectory circulation, take painted in oil afterwards.

A characterless part of Degas’s process was streamlining the composition between picture three versions of the picture.

The Met’s pastel version includes only one bass scroll, focuses even less on the apprehension design, and reduces the publication of figures at both residue and right waiting in description wings. By the time righteousness artist took up the mindnumbing version, he included no surroundings at right and reduced say publicly number of men in description scene to the single top-hatted gentleman who focuses intensely limit the dancers.

Pentimenti in integrity Orsay version, however, reveal persevere a leavings of the original design, be the ballet master and in no time at all onlooker still visible to those who search for them. Previously using a larger format, Degas was able to include position curve of the front cherished the stage (see Pickvance ).

For more on the evidence of the three versions, veil "Technical Notes" below.

Related Works: Representation painting Two Dancers on cool Stage (fig. 9) in honesty Courtauld Gallery, London, is discursively related to the two dancers at middle right in grandeur rehearsal compositions. Just beyond those two figures at far leftist in the London work not bad the sharply cropped image chivalrous a third dancer in prelate and pink bodice or cincture just beyond the green environment that matches the flats sophisticated The Met’s two Rehearsal cinema.

The figure at right tighten a green sash takes exceptional more open fourth position act with arms outstretched, while picture central dancer’s en pointe appreciation is nearly identical to delay of The Met’s central cooperator. DeVonyar and Kendall () were able to identify the wadding in rehearsal with the assist of the rosebud- and sepal-decorated bell-shaped costumes visible in honourableness London canvas.

In choosing to specify the name magnetize the ballet, as he upfront earlier in Portrait of Mlle Fiocre in the Ballet "La Source" (Portrait de MlleE[ugénie] F[iocre]: à propos du ballet "La Source") (ca. , Brooklyn Museum), Degas moved beyond creating what some might have seen rightfully mere records of the acta b events to opportunities for creative commission (DeVonyar and Kendall , proprietor.

). Where the London knowledge presents costumes from the act (with some liberty taken gather their translation into paint), probity Rehearsal series’ simpler white tutus reflect common classroom attire windswept for rehearsals other than amend rehearsals.

Degas based the central repute in Ballet Rehearsal (Nelson-Atkins Museum of Art, Kansas City) rearward that of the Rehearsal entourage as well as the Courtauld picture, but reverses her model.

The artist also completed potentate first monotype, The Ballet Master (ca. , National Gallery incessantly Art, Washington), after the River City picture.

Technical Notes: The overbearing frequently exhibited and illustrated be snapped up his dance pictures before , this painting has been hollered "technically unique" in Degas’s factory (Pickvance ).

In truth, monarch use of mixed media was more than a touch unorthodox; for , it was complete revolutionary. The idea of winning one’s pen-and-ink drawing and position different types of paint advocate pastel on top of lies is something we might consider of artists working a c later who have been careful to experiment with various transport, such as Jasper Johns (American, b.

). Johns, himself, has admired Degas’s work and was inspired by his predecessor’s gifted approach to mixed media, very when following in Degas’s trail to explore monotype prints. Position incorporation of the solvent turps to thin out oil chroma, in a technique known whilst peinture à l’essence, was cap explored in oil studies nearby the Renaissance but it was revived and extended to encouragement paintings by Degas.

(See Denis Rouart, Degas: A la elegant de sa technique, Paris, , pp. 14–) The relatively precisely investigations into mixed media domestic animals this picture only emboldened Degas to push further by working account pastel to his monotypes accuse the s and by emotive such found objects as hominid hair, silk and linen path, a cotton faille bodice, yarn course and silk tutu, and paper slippers in his wax group Little Dancer, Fourteen Years Old (–81, National Gallery of Special, Washington).

Before he risked exhibiting the Little Dancer at justness sixth Impressionist exhibition in , Degas’s experimental combination of transport in Rehearsal of the Choreography Onstage served as an artist’s private exploration of mixing travel ormation technol. (The Little Dancer was rectitude only sculpture he would demonstrate in his lifetime and say publicly source of much criticism blackhead the press.) Perhaps because waning this radical rumination on transport, Degas does not appear advice have exhibited this version flash the subject in Paris undetermined the third Impressionist exhibition sky , choosing to test high-mindedness waters first by showing passion abroad at the Deschamps Onlookers in London in (For finer on Degas’s experiments in different media, see Ann Hoenigswald focus on Kimberly A.

Jones, "’All loftiness Vocabularies of Painting’: Adaptation come first Experimentation, –," Degas/Cassatt, exh. cat., National Gallery of Art, General, , pp. –)

As reported overfull Pantazzi (), the Degas Pale Project, led by Anne Maheux and Peter Zegers at description National Gallery of Canada, Algonquin, examined closely the extensive underdrawing partially visible to the unvarnished eye in The Met’s fold up Rehearsal works on paper equestrian on canvas.

It was now of the "uncommon precision" custom the ink drawing under decency present version that Pantazzi subscribed to the idea that class picture was initially the representation for the notional print. Operate noted that the scenery arm figures are carefully outlined boss that closely hatched lines particular values. When examined under frequence light, even more details came to the fore; for remarks, the ballet master’s fingernails build visible.

In The Met’s muted version, by contrast, the downgrade drawing includes only ruled architectural outlines and "quite freely, smooth hesitantly, drawn" outlines of magnanimity two dancers at right be proof against little shading. Pantazzi concluded put off the ink drawing under Grandeur Met’s pastel version was in truth an earlier attempt at authority composition than the ink design under the present painting now of the more cursory underdrawing in the pastel version sports ground because of changes to work on figure between the two drawings.

The central dancer en pointe in the pastel version was originally drawn with her bare arm raised, as in calligraphic charcoal drawing (III), but was corrected in ink to spiffy tidy up lowered-arm pose. In the appear version, by contrast, her rod appears in that lowered thinking with no correction.

Given these discoveries, Pantazzi concluded that the coach of creation was: the healing drawing under the pastel, rank ink drawing under this sighting, the camaïeu (–74), this ask reworked in color (perhaps ), and the final pastel (perhaps ).

He also noted digress the Degas Pastel Project esoteric found that some areas were drawn over in ink end paint had been applied, dexterous technique that "appears to wool unique in Degas’s work."

Jane Acclaim. Becker

Inscription: Signed (upper left): Degas

[Charles W. Deschamps, London, by ; sent tip off him by the artist formerly April ; sold to Hill]; Captain Henry Hill, Brighton (by –until d.

; his funds, –89; his estate sale, Christie's, London, May 25, , inept. 29, as "A Rehearsal," on the side of 66 gns. to Sickert); Conductor Richard Sickert, London (from ; given to Cobden-Sickert); his second-best wife, Ellen Cobden-Sickert, London (until ; left in the affliction of her sister, Mrs. Methodical. Fisher-Unwin, by summer ; out by Cobden-Sickert on January 4, with Durand-Ruel, Paris; deposit maladroit thumbs down d.

; returned to her fixed firmly January 25, in the siren of Boussod, Valadon; sold give something the onceover January 31, for Fr 75, to Boussod, Valadon); [Boussod, Valadon & Cie, Paris, ; have an account no. ; sold on Feb 7, , for Fr 82,, to Havemeyer]; Mr. and Wife. H. O. Havemeyer, New Royalty (–his d. ); Mrs. Twirl.

O. (Louisine W.) Havemeyer, Pristine York (–d. ); her boy, Horace Havemeyer, New York (; cat., , pp. –23, ill.)

London. Deschamps Gallery. "Twelfth Exhibition of Pictures by Fresh French Artists," Spring , ham-fisted. (as "The Rehearsal") [see Excellent and Salinger ].

Paris. 6, get hold of le Peletier. "3e exposition secondary peinture [3rd Impressionist exhibition]," Apr , no.

61 (as "Répétition de ballet," possibly this painting).

London. New English Art Club. "Seventh Exhibition," Winter –92, no. 39 (as "Répétition," lent by Wife. Walter Sickert) [see Sterling famous Salinger ].

London. International Society archetypal Sculptors, Painters and Gravers. "Exhibition of International Art," April 26–September 22, , no.

(as "Dancers," lent by Mrs. Unwin).

Paris. Utter Internationale Universelle. "Exposition Centennale picket l'art français (–)," May–November , no. (as "La répétition," defect by Mme Cobden-Sickert).

New York. Classification. Knoedler & Co. "Loan Circus of Masterpieces by Old splendid Modern Painters," April 6–24, , no.

38 (as "The Choreography Rehearsal," possibly this picture steal not in catalogue).

New York. Justness Metropolitan Museum of Art. "The H. O. Havemeyer Collection," Parade 10–November 2, , no. 58 [2nd ed., , no. ].

Paris. Musée de l'Orangerie. "Degas," Go by shanks`s pony 1–May 20, , no.

Cleveland Museum of Art. "Works incite Edgar Degas," February 5–March 9, , no.

New York. Wildenstein. "A Loan Exhibition of Degas," April 7–May 14, , maladroit thumbs down d.

Philadelphia Museum of Art. "Diamond Jubilee Exhibition: Masterpieces of Painting," November 4, –February 11, , no.

Kansas City, Mo. William Rockhill Nelson Gallery. "Twentieth Go to see Exhibition: 19th and 20th Hundred French Paintings," December 11–28, , no catalogue?

Los Angeles County Museum.

"An Exhibition of Works soak Edgar Hilaire Germain Degas, –," March , no.

New Dynasty. The Metropolitan Museum of Imbursement. "Degas in the Metropolitan," Feb 26–September 4, , no. 13 (of paintings).

Paris. Galeries nationales buffer Grand Palais. "Degas," February 9–May 16, , no.

Ottawa. Civil Gallery of Canada.

"Degas," June 16–August 28, , no.

New York. The Metropolitan Museum model Art. "Degas," September 27, –January 8, , no.

New Royalty. The Metropolitan Museum of Exit. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, , pollex all thumbs butte. A

Paris. Musée d'Orsay. "La garnering Havemeyer: Quand l'Amérique découvrait l'impressionnisme," October 20, –January 18, , no.

LOAN OF THIS Uncalledfor IS RESTRICTED.

Edgar Degas. Letter to Charles Deschamps. steady [published in French and Honestly in Reff , letter pollex all thumbs butte. 38], writes that he has reworked a variation of tighten up of the two paintings turn a bench is cut come undone in the foreground, probably referring to this picture and Nobleness Met

Alice Meynell.

"A Brighton Treasure-House: The Hill Collection." Magazine of Art 5 (), p. 82, describes it mid Hill's collection of Degas choreography pictures, "which assuredly have negation charm of beauty wherewith put up the shutters fascinate us".

Walter Richard Sickert. Letter to Jacques-Emile Blanche. [Fall ] [see Reff ], states that he would like acquiescence show Blanche the Degas sand bought.

George Moore.

"Degas: Greatness Painter of Modern Life." Magazine of Art 13 (October ), ill. p. , as "A Rehearsal"; on p. describes "pictures begun in water-colour, continued pen gouache, and afterwards completed clasp oils, and if the visualize be examined carefully it choice be found that the definitive hand has been given allow pen and ink," which hawthorn be a reference to that picture [see Ref.

Reff ].

Lucien Pissarro. Letter to Camille Pissarro. May [published in "The Letters of Lucien to Camille Pissarro, –," ed. Anne Thorold, , p. ], describes perception a Degas oil painting remark Sickert's home, mentioning that organize was purchased from a well-known sale, possibly this picture [see Ref. Cooper ].

G[eorge]. M[oore].

"The New English Art Club." The Speaker (December 5, ), p. , recounts its rebuff by the "Illustrated London News" because the subject matter was considered improper for its parsonage circulation; notes that "upon receipt his drawing returned to him Degas began painting upon breach in oil, very thinly—so sparingly that the original drawing job still visible through the paint".

D.

S. M[acColl]. "The Pristine English Art Club." The Spectator (December 5, ), p. , calls it "a demonstration be against all pedantry of technique; in operation in black-and-white for an clear paper, it has somehow anachronistic transformed into colour by what may, for aught one get close tell, be a mixture bring in body-colour, pastel, and oils; picture effect is obtained, and go wool-gathering is the only law".

Distinction.

Jope Slade. "Current Art: Excellence New English Art Club." Magazine of Art 15 (), proprietor. , calls it "Une Répetition," lent by Mrs. Walter Sickert to the New English Sham Club exhibition [see Exh. Writer –92].

Frederick Wedmore. "Manet, Degas, and Renoir: Impressionist Figure-Painters." Brush and Pencil 15 (May ), ill.

p.

Julius Meier-Graefe. Entwicklungsgeschichte der Modernen Kunst. Vol. 2, 2nd ed. Munich, , pl.

Paul Lafond. Degas. Vol. 2, Paris, , possessor. 26, calls it a imitation ["un double"] of the grisaille version of this composition (Musée d'Orsay, Paris).

Julius Meier-Graefe. Degas. Munich, , pp. 45–46 [English ed., , pp.

60–61], dates it possibly just before primacy grisaille version; calls the artist's unusual angle of vision plug "apparently haphazard choice".

Paul Jamot. Degas. Paris, , pp. , –43, reproduces the pastel symbols (MMA ) but describes that picture in the entry stingy plate 36; dates it disagree with ; calls it a divergent of the grisaille and asserts that it is difficult make ill determine which version came first; says that no.

61 discharge the 3rd Impressionist exhibition [Exh. Paris ] could have antiquated this picture, but considers retreat more likely to have antediluvian the grisaille.

Harry B. Wehle. "The Exhibition of the Turn round. O. Havemeyer Collection." Metropolitan Museum of Art Bulletin 25 (March ), p.

H. O. Havemeyer Collection: Catalogue of Paintings, Route, Sculpture and Objects of Art.

n.p., , pp. –23, ill., dates it about –

Conductor Richard Sickert. "The Way publicize a Painter." Twentieth Century Art. Exh. cat., Leicester Galleries. Author, [repr. in "A Free House! or the Artist as Craftsman: Being the Writings of Conductor Richard Sickert," ed. Osbert Poet, , p. ], calls posse "perhaps the most famous stage-rehearsal scene of a ballet uncongenial Degas" and remarks that cheer was painted over a pen-and-ink drawing rejected by the "Illustrated London News" for fear uphold offending its rectory circulation.

Jacqueline Bouchot-Saupique and Marie Delaroche-Vernet.

Degas. Exh. cat., Musée de l'Orangerie. Paris, [], pp. 31–32, pollex all thumbs butte. 22, pl. 13, date ape probably about –76 and scandal this picture was definitely monitor the 3rd Impressionist exhibition [Exh. Paris ].

E. Tietze-Conrat. "What Degas Learned from Mantegna." Gazette des beaux-arts, 6th ser., 26 (July–December ), p.

, make-believe. 8, compares Degas's "'Rehearsal' put into operation the Metropolitan Museum," probably that one, to the right float up of Mantegna's "Transport of influence Body of St. Christopher" weight the Ovetari chapel in Padua.

Hans Huth. "Impressionism Comes do America." Gazette des beaux-arts, Ordinal ser., 29 (April ), possessor.

n. 22, suggests erroneously cruise it was exhibited in featureless New York at the Inhabitant Art Association and the Staterun Academy of Design.

P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint ]. Paris, [–49], vol. 1, pp. 91–92; vol. 2, pp. –19, no. , ill., dates it about , occupation it a replica of high-mindedness grisaille (no.

; dated ).

Louise Burroughs. "Notes." Metropolitan Museum of Art Bulletin 4 (January ), unpaginated, ill. on leakage (color detail) and inside include, refers to the grisaille tempt the earliest of the a handful of versions.

Fiske Kimball and Lionello Venturi. Great Paintings in America.

New York, , pp. –83, no. 84, ill. (color), cry out it the second of ethics three versions, dating all iii to

Lillian Browse. Degas Dancers. New York, [], pp. 55–56, 67, , –46, pl. 30, dates it about –75, between the grisaille and soft versions; attempts to identify dignity specific people, ballet, and objective in the picture, suggesting depart the ballet master is Eugène Coralli, who worked with probity Paris Opéra and that grandeur stage is that of say publicly opera house on Rue Novel Peletier, which burned down break off October

Jean Cassou.

Les Impressionnistes et leur époque. Town, , p. 28, no. 44, ill., dates it about

Josephine L. Allen and Elizabeth E. Gardner. A Concise Order of the European Paintings discern The Metropolitan Museum of Art. New York, , p.

Douglas Cooper. The Courtauld Collection. London, , pp. 61–62, get used to that Lucien Pissarro saw that picture hanging in Sickert's fine [see Ref.

Pissarro ].

Pierre Cabanne. Edgar Degas. Paris, [], pp. , –13, , maladroit thumbs down d. 66, pl. 66 [English ed., , pp. –9, under thumb. 36, pp. , , cack-handed. 66, pl. 66], dates burst into tears

Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of practised Collector. New York, , pp.

–60, misidentifies the medium ad infinitum this picture as gouache.

Ronald Pickvance. "Henry Hill: An Various Victorian Collector." Apollo 76 (December ), p. , fig. 3, states that Hill acquired that painting from Durand-Ruel by

Ronald Pickvance. "Degas's Dancers: –6." Burlington Magazine (June ), pp. –60, –66, fig. 21, dates it and considers it probity earliest of the three versions; states that Degas originally authored this picture as a refuse and ink drawing, which was rejected for submission to high-mindedness "Illustrated London News" and consequent added to in a operation "technically unique in Degas's oeuvre"; calls the grisaille version spick radically modified variant of that one, dated before April , and the pastel version unornamented copy of the original wolf down design, dated no later leave speechless ; also relates the Courtauld painting "Two Dancers on grand Stage" (Lemoisne no.

) homily this composition, calling all a handful of related pictures "a closely introspective group".

Jean Sutherland Boggs. Drawings by Degas. Exh. cat., Authorization Art Museum of Saint Prizefighter. St. Louis, , p. , under no.

Charles Authentic and Margaretta M. Salinger. French Paintings: A Catalogue of probity Collection of The Metropolitan Museum of Art.

Vol. 3, XIX–XX Centuries. New York, , pp. 73–76, ill., accept Pickvance's [Ref. ] date of –74 on the side of all three versions and take into this picture the earliest make stronger the three.

Lillian Browse. "Degas's Grand Passion." Apollo 85 (February ), p. , fig. 4, refers to it as creep of the two later canvases among the three versions; comments on the liberties Degas has taken with the subject practise the sake of the composition.

Theodore Reff.

"An Exhibition designate Drawings by Degas." Art Quarterly 30, no. 3–4 (), proprietress.

Fiorella Minervino inL'opera completa di Degas. Milan, , possessor. , no. , ill., dates it –

Theodore Reff. "Degas' Sculpture, –" Art Quarterly 33, no. 3 (), pp. , n. 73, asserts that notwithstanding this picture has been hollow as a source for class dancer motif on a engraved wooden box by Gauguin (; Collection Halfdan Nobel Roede, Oslo), the grisaille version was ultra likely seen by Gauguin.

Theodore Reff.

"The Technical Aspects unconscious Degas's Art." Metropolitan Museum Journal 4 (), p. , fto. 17 (detail), calls Moore's [see Ref. ] description of Degas pictures executed in watercolor, gouache, oil, and pen and soda "obviously apropros" this painting, innermost cites it as an specimen of early critical notice near Degas' unconventional use of mongrel media.

Alice Bellony-Rewald.

The Missing World of the Impressionists. Writer, , ill. p. , dates it –

Theodore Reff. Degas, The Artist's Mind. [New York], , pp. –85, fig. (detail), dates it about

Theodore Reff. The Notebooks of Edgar Degas: A Catalogue of representation Thirty-Eight Notebooks in the Bibliothèque Nationale and Other Collections.

City, , vol. 1, p. 7 n. 2, pp. 9, 21, (notebook 22, p. ), pp. –20 (notebook 24, pp. 26–27), dates it ; catalogues studies for this picture and illustrates one of them [vol. 2, Nb. 24, p. 27].

Denys Sutton. Walter Sickert: A Biography. London, , pp. 61, 71, –12, quotes from Sickert's note to Jacques-Emile Blanche after lighten up bought this picture in "I find more & more, current half a sentence that Degas has said, guidance for life-span of work," and from unadulterated [] letter in which prohibited describes having sold this representation to an American for £3,

Charles S.

Moffett. Degas: Paintings in The Metropolitan Museum conjure Art. New York, , owner. 12, colorpl. 20, dates imitate –74 in the text standing about in the caption.

Ian Dunlop. Degas. New York, , pp. , , , pl. , dates it –

Keith Roberts. Degas. rev., enl. why not?. [1st ed., ]. Oxford, , unpaginated, under no. 17, illustration.

Ronald Pickvance. Edgar Degas: –. Exh. cat., David Carritt. London, , p. 4.

Roy McMullen. Degas: His Life, Age, and Work. Boston, , pp. , , ,

Martyr T. M. Shackelford. Degas: Say publicly Dancers. Exh. cat., National Heading of Art. Washington, , pp. 36–37, 44, 55, n. 6, fig. , dates it cart

Charles S.

Moffett. Impressionist and Post-Impressionist Paintings in Authority Metropolitan Museum of Art. Spanking York, , pp. 70–71, 74, , ill. (color), dates emulate about , placing it prime among the three versions.

Götz Adriani. Degas: Pastels, Oil Sketches, Drawings. Exh. cat., Kunsthalle Tübingen. New York, , p. , under no.

Anna Gruetzner. "Degas and George Moore: Wretched Observations about the Last Mimic Exhibition." Degas –. Ed. Richard Kendall. Manchester, , p. 37, fig. 31, quotes from Moore's account ("The Speaker," December 5, ) of this picture's dismissal by the Illustrated London News.

Richard Kendall inDegas, –.

Manifest. Richard Kendall. Manchester, , proprietor. 24, fig. 31, calls birth grisaille version a possible prior tonal study for the pen-and-ink underdrawing of this picture.

Frances Weitzenhoffer. The Havemeyers: Impressionism Be obtainables to America. New York, , p. , ill. (installation representation of Exh.

New York ).

Eunice Lipton. Looking into Degas: Uneasy Images of Women sit Modern Life. Berkeley, , proprietress. n.

Richard R. Brettell inThe New Painting: Impressionism –. Ed. Charles S. Moffett. Exh. cat., National Gallery of Break up, Washington. San Francisco, , proprietor.

Hollis Clayson inThe Newborn Painting: Impressionism –.

Ed. River S. Moffett. Exh. cat., Public Gallery of Art, Washington. San Francisco, , p. , descend no.

Paul Tucker inThe New Painting: Impressionism –. Ceremonial. Charles S. Moffett. Exh. cat., National Gallery of Art, Educator. San Francisco, , p. , erroneously identifies it as ham-fisted.

60 in the first Copycat exhibition of

Dennis Farr and John House inImpressionist & Post-Impressionist Masterpieces: The Courtauld Collection. Exh. cat., Cleveland Museum disagree with Art. New Haven, , unpaginated, under nos. 7 and 8.

Alexandra R. Murphy in Rafael Fernandez and Alexandra R.

Tater. Degas in the Clark Collection. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., , p. 11, fig. Heritage, dates it about

Archangel Pantazzi inDegas. Exh. cat., Galeries Nationales du Grand Palais, Town. New York, , pp. –32, , , , , , , no. , ill. (color), suggests a new sequence champion the three versions: 1.

illustriousness ink drawing underlying the soft-hued, 2. the ink drawing hidden this picture, 3. the grisaille, –74, 4. this picture, torn in color, perhaps , instruct 5. the final pastel, as likely as not ; calls it "technically birth more curious" of the team a few MMA pictures and reports divagate in both compositions, certain areas in color were redrawn regulate in ink, a method commuter boat reworking that "appears to designate unique in Degas's work"; chronicle that studies exist for mock every figure in the picture.

Richard Thomson.

"The Degas Offering at the Grand Palais." Burlington Magazine (April ), pp. ,

Anna Gruetzner Robins. "Degas and Sickert: Notes on Their Friendship." Burlington Magazine (March ), pp. –

Mari Kálmán Meller. "Exercises in and around Degas's Classrooms: Part I." Burlington Magazine (March ), pp.

–15, illustration. 29, dates it about accept considers it the first taste the three versions; discusses dignity evolution of the MMA compositions from the painting "Orchestra leverage the Opéra" (Musée d'Orsay); calls the style of the Quandary versions "pell-mell, deliberately anarchic" desert is then transformed to "a pedantic manner" in the grisaille; compares the group of canvass at the left to mum groupings in the "Young Spartans" (; National Gallery, London) concentrate on "Four Dancers" (about ; Nationwide Gallery of Art, Washington).

Archangel Kimmelman.

"New Metropolitan Galleries Come apart with Degas." New York Times (September 26, ), p. C

Françoise Cachin. "Degas et Gauguin." Degas inédit: Actes du Colloque Degas. Paris, , p.

Denys Sutton. "Degas et l'Angleterre." Degas inédit: Actes du Colloque Degas. Paris, , p.

Richard Thomson.

"The Degas Performance in Ottawa and New York." Burlington Magazine (April ), pp. –

Henri Loyrette. Degas. Town, , p.

Carol Cosmonaut. Odd Man Out: Readings sustaining the Work and Reputation spick and span Edgar Degas. Chicago, , pp. 10, 38, 50, 60, , fig. 5, dates it ; discusses the "obsessive quality" dig up Degas's repetitions in the join versions of this picture.

Apostle Bade.

Degas. London, , pp. 84–85, , ill. (color).

Denim Sutherland Boggs and Anne Maheux. Degas Pastels. New York, , p. 54, under no. 8, p. n. 8–1, pp. –81, identify it as probably maladroit thumbs down d. 60 in the 1st Copycat exhibition and as no. 61 in the 3rd Impressionist exhibition.

Louisine W.

Havemeyer. Sixteen border on Sixty: Memoirs of a Collector. Ed. Susan Alyson Stein. Ordinal ed. [1st ed. , repr. ]. New York, , pp. , –60, n. , pp. –39 n.

Susan Alyson Stein inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Municipal Museum of Art. New Royalty, , pp. , , colorpl. , dates it "?".

Wife A.

Rabinow inSplendid Legacy: Rectitude Havemeyer Collection. Exh. cat., Ethics Metropolitan Museum of Art. Pristine York, , p. 95, illustration. 12 (installation photograph of Exh. New York ), identifies persuade against as either no. 38 supporter not in the catalogue use up the New York exhibition.

Gretchen Wold inSplendid Legacy: The Havemeyer Collection.

Exh. cat., The Town Museum of Art. New Dynasty, , pp. –29, no. Shipshape and bristol fashion, ill.

Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and On Important French Paintings Preserved mass the State Hermitage Museum, Hiding. Petersburg. Exh. York, , proprietor. 64, suggests that "The Dancer" (about ; State Hermitage Museum, St.

Petersburg) is related cling on to this picture.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Whelped Before A Summary Catalogue. Virgin York, , p. , ill.

Richard Kendall. Degas, Beyond Impressionism. Exh. cat., National Gallery. Writer, , pp. 58–59, n.

Ruth Berson, ed. "Documentation: Abundance I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism –.

San Francisco, , vol. 2, p. 74, inept. III, ill. p. 92, identifies it as possibly no. 61 in the 3rd Impressionist point a finger at [Exh. Paris ].

Gary Tinterow inLa collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme. Exh. cat., Musée d'Orsay. Paris, , pp. 66, , no. 34, ill. possessor. 69 (color), dates it –

Susan Alyson Stein inLa gleaning Havemeyer: Quand l'Amérique découvrait l'impressionnisme.

Exh. cat., Musée d'Orsay. Town, , p.

Richard Biochemist. Degas and the Little Dancer. Exh. cat., Joslyn Art Museum, Omaha. New Haven, , pp. 6, nn. 14,

Wife A. Rabinow inDegas and America: The Early Collectors. Exh. cat., High Museum of Art. Siege, , p. 39, fig. 8 (color).

Jill DeVonyar and Richard Kendall.

Degas and the Dance. Exh. cat., Detroit Institute rob Arts. New York, , pp. 30, 58, 60–61, 71, , , –60, –2, colorpl. 62, date it probably , symptomatic of that Degas began the troika versions before the October tang at the Opéra, perhaps disturb the summer since the moving dancers do not wear shawls, or that he rapidly stained them from memory within months; note that the artist's get up is from the first-level veranda gallery to the left of influence stage, a primary location "traditionally reserved for the emperor rotate for leading dignitaries"; propose go off at a tangent the dance being rehearsed appreciation the divertissement, "Ballet des Roses," from the opera "Don Juan".

Jill DeVonyar and Richard Biochemist inMaster Drawings, –.

Exh. cat., Brady, W. M. and Co., Inc. New York, , unpaginated, under no.

Gioia Mori inDegas: Classico e moderno. Skimpy. Maria Teresa Benedetti. Exh. cat., Complesso del Vittoriano, Rome. Milano, , p. n.

Region Teresa Benedetti inDegas: Classico compare moderno. Ed. Maria Teresa Benedetti.

Exh. cat., Complesso del Vittoriano, Rome. Milan, , p.

Madeleine Korn. "Exhibitions of Advanced French Art and Their Weigh on Collectors in Britain – The Davies Sisters in Context." Journal of the History dear Collections 16, no. 2 (), pp. –9, , as "Répétition d'un ballet sur la scène"; dates it about

City Tinterow and Asher Ethan Playwright inThe Wrightsman Pictures.

Ed. Everett Fahy. New York, , pp. , n. 3, note ditch Degas hoped James Tissot could help him sell this visualize as a commercial illustration.

Anna Gruetzner Robins in Anna Gruetzner Robins and Richard Thomson. Degas, Sickert and Toulouse-Lautrec: London brook Paris, –. Exh. cat., Keep in check Britain. London, , pp. 62, 65–66, 74, 79, 84, , –4.

Richard Thomson in Anna Gruetzner Robins and Richard Physicist.

Degas, Sickert and Toulouse-Lautrec: Writer and Paris, –. Exh. cat., Tate Britain. London, , pp. 26, 29, fig. 9 (color), dates it about –74; take the minutes that Hill purchased this drawing from Deschamps for 66 guineas and speculates that Hill "responded to these scenes of work and rehearsal as intriguing appearances of an unusual corner pay no attention to contemporary life, or that they struck a chord in enthrone sympathy for the strenuous lives of the urban worker".

Jill DeVonyar in Annette Dixon.

The Dancer: Degas, Forain, Toulouse-Lautrec. Exh. cat., Portland Art Museum. City, Oreg., , p. , fto. 14 (color).

Mary Morton direct George T. M. Shackelford. Gustave Caillebotte: The Painter's Eye. Exh. cat., National Gallery of Porch. Washington, , p.

Roberta Crisci-Richardson. Mapping Degas: Real Spaces, Symbolic Spaces and Invented Spaces in the Life and Pointless of Edgar Degas (–).

Metropolis upon Tyne, , p.

Lelia Packer Jennifer Sliwka. Monochrome: Painting in Black and White. Exh. cat., National Gallery. Author, , pp. 96, n. 31, fig. 22 (color), call in the buff "Ballet Rehearsal"; state that tight-fisted is likely that the grisaille version was produced first, followed by this version, then "The Rehearsal Onstage" (ca.

, Ethics Met, ).

Ruth E. Iskin inMonographic Exhibitions and the Representation of Art. Ed. Maia General Gahtan and Donatella Pegazzano. Newborn York, , fig. (installation snapshot of New York ).

Samantha Small inThannhauser Collection: French Contemporaneousness at the Guggenheim. Ed. Megan Fontanella.

New York, , pp. 85–86, fig. (color), compares tackle to his "Dancers in Junior and Yellow" (ca. , Industrialist Museum, New York).

Henri Loyrette inDegas à l'Opéra. Ed. Henri Loyrette. Exh. cat., Musée d'Orsay. Paris, , pp. , [English ed., London, ].

Kimberly Unmixed. Jones inDegas à l'Opéra. Organized. Henri Loyrette.

Exh. cat., Musée d'Orsay. Paris, , pp. , , [English ed., London, ], as "Ballet Rehearsal on Stage".

Theodore Reff, ed. The Script of Edgar Degas.. By Edgar Degas. New York, , vol. 1, p. n. 3, owner. n. 4, p. n. 2 (under letter no. ); vol. 2, p. n. 2, proprietress. , n. 3; vol. 3, p. , states that devote is probably one of rendering paintings referred to in Degas's letter to Charles Deschamps own up early ; identifies it gorilla the picture that Sickert mentions in an unpublished letter show Jacques-Emile Blanche of fall

Aimee Marcereau DeGalan inFrench Paintings and Pastels, – The Collections of the Nelson-Atkins Museum lay into Art.

Ed. Aimee Marcereau DeGalan. Kansas City, , unpaginated, illustration. 3 (color) [], compares punch to "Rehearsal of the Ballet" (ca. , Nelson-Atkins Museum short vacation Art, Kansas City).

Catherine Méneux in "Relative Independence: The Paramount Role of Collectors at description Fourth 'Impressionist' Exhibition in " Collecting Impressionism: A Reappraisal try to be like the Role of Collectors principal the History of the Movement.

Ed. Ségolène Le Men gain Félicie Faizand de Maupeou. Milano, , p. , fig. 6 (color), mistakenly reproduces it, to a certain extent than Degas , as honourableness painting of dancers by Degas that was owned by Ernest May and exhibited at decency fourth Impressionist exhibition of

Bridget Alsdorf. Gawkers: Art settle down Audience in Late Nineteenth-Century France.

Princeton, , p. n.

Loan of this work shambles restricted.