In this artwork, how is the Reception and analysis discussed?
Gustave Caillebotte, a painter who used his large inheritance to support many of the early Impressionists, bought the work from Degas and lent it to the Third Impressionist Exhibition in 1877, soon after it was finished. The title was shortened to simply Choristes. Critics at the time saw it as furthering Degas's place as the Impressionist most concerned with realism in his choice of subjects and representation. "And the hideous chorus, bawling in full voice," wrote one admirer, "aren't they real!"Many critics, looking at all of Degas's work in the show, saw the strong influence of caricature on his work. In particular, they compared his figurative stylings to Honoré Daumier, whom Degas admired to the point of owning several of his works. La Petite Republique Française went further, comparing Les Choristes and other paintings depicting performers offstage and on—Café-Concert and Dancers at the Barre among them—favorably with the work of Paul Gavarni and  Alfred Grévin. "No one, including [them], has seen the world of the wings and the café-concert in as humorous a fashion", the journal wrote. "[The works] are a collection of true and witty satire."Appreciation for the work, as part of those Degas showed in 1877, did not diminish with the passage of time. In 1897, when the work was put on exhibit at the Musée du Luxembourg, Léonce Bénédite called Les Choristes part of a group of "acute, ironic and cruel observations ... the work of a firm, sure hand [and] just, sensible eye." He called them "little masterpieces" that a public not generally aware of Degas's genius had done well to acquire.
Impressionist Paul Gavarni Impressionists Léonce Bénédite Gustave Caillebotte Musée du Luxembourg realism Alfred Grévin support many of the early Impressionists Honoré Daumier caricature