When did Degas sculpt his "Little Dancer"?
Edgar Degas
Degas's work was controversial, but was generally admired for its draftsmanship. His "La Petite Danseuse de Quatorze Ans", or "Little Dancer of Fourteen Years", which he displayed at the sixth Impressionist exhibition in 1881, was probably his most controversial piece; some critics decried what they thought its "appalling ugliness" while others saw in it a "blossoming". In part Degas' originality consisted in disregarding the smooth, full surfaces and contours of classical sculpture ... [and] in garnishing his little statue with real hair and clothing made to scale like the accoutrements for a doll. These relatively "real" additions heightened the illusion, but they also posed searching questions, such as what can be referred to as "real" when art is concerned. The suite of pastels depicting nudes that Degas exhibited in the eighth Impressionist Exhibition in 1886 produced "the most concentrated body of critical writing on the artist during his lifetime ... The overall reaction was positive and laudatory".
Art Deco
Many early Art Deco sculptures were small, designed to decorate salons. One genre of this sculpture was called the Chryselephantine statuette, named for a style of ancient Greek temple statues made of gold and ivory. One of the best-known Art Deco salon sculptors was the Romanian-born Demétre Chiparus, who produced colorful small sculptures of dancers. Other notable salon sculptors included Ferdinand Preiss, Josef Lorenzl, Alexander Kelety, Dorothea Charol and Gustav Schmidtcassel.
Ellen Price
In 1889 - 1895, Price was trained at school of Royal Danish Ballet and joined the theater of Royal Danish Ballet; she debuted on May, 28th 1895 with a pas de trois in the ballet "Window" (La Ventana) written by composer Hans Christian Lumbye and choreographed by August Bournonville. In 1903, she became a prima ballerina of Royal Danish Ballet. Her roles included "La Sylphide", "Cinderella", and "Little Mermaid".
The role of the Little Mermaid gave her the most unexpected glory. The ballet "The Little Mermaid", based on Hans Christian Andersen's fairy-tale and set to music by Fini Henriques, was put by the choreographer Hans Beck (1861–1952) in 1909 with the Royal Danish Ballet. Among spectators of ballet had been Danish brewer and art collector Carl Jacobsen; the ballet left such a strong impression on him that he commissioned sculptor Edvard Eriksen to create a statue of the Little Mermaid. Though Price agreed to model for the statue, she refused to pose nude and her likeness was only used for the head of the statue. For the body of the statue, Eriksen used his wife Eline Eriksen as a model. The bronze statue that Eriksen created was unveiled on 23 August 1913 and presented to the city by Jacobsen. "The Little Mermaid" statue has since become a symbol of Copenhagen.
The Bellelli Family
The Bellelli Family, also known as Family Portrait, is an oil painting on canvas by Edgar Degas (1834–1917), painted ca. 1858–1867, and housed in the Musée d'Orsay. A masterwork of Degas' youth, the painting is a portrait of his aunt, her husband, and their two young daughters.
Rock sculpture of Decebalus
It was commissioned by Romanian businessman Iosif Constantin Drăgan and it took 10 years, from 1994 to 2004, for twelve sculptors to finish it. According to Drăgan's website, the businessman purchased the rock in 1993, after which the Italian sculptor Mario Galeotti assessed the location and made an initial model. The first six years involved dynamiting the rock into the basic shape, and the remaining four years were devoted to completing the detail.
Hieronymus Janssens
Janssens' paintings are often both signed and dated, with dates ranging from 1646 to 1661. Like his teacher van der Laemen he was specialized in dance scenes, set inside a house or on an outside terrace. This is where he got the nickname "Den danser" or "The dancer". These works contributed to the development of the genre of the conversation piece in the Low Countries. His representations of elegant companies and balls and the works of Peter Paul Rubens, in particular his "Garden of Love" (Prado Museum), were significant for the formation of the genre. In this last work, Rubens showed how a garden could be used as a setting for amorous dalliance and courtship.
Louis Mérante
Edgar Degas included the figure of Mérante, in an immaculate white suit, with the traditional baton for beating time on the floorboards, in his 1872 painting "Le foyer de danse". The painting marked the beginning of Dégas' long infatuation with the ballet, but though he had sketched the individual dancers, and the practice room in the company's old premises in the Salle Le Peletier, with its great arched mirror, he was not permitted to attend a rehearsal in person.
Wife (in 1861): the Russian ballerina (Mlle Zina, étoile in 1857-1863), which father Joseph Richard was the French ballet dancer and arrived to Russia in 1823 with his niece (or sister) and her husband Fernando Sor.
Ludovic-Napoléon Lepic
Lepic’s fondness for dogs, evidenced by his many etchings, resulted in Degas’ final pastel of Lepic holding one in the Cleveland Museum of Art (1889). Earlier, he had included another dog in the amusing "Place de la Concorde", in which the elegantly dressed and cigar-smoking Lepic strides to the right, an umbrella under his arm, while his two daughters and the dog all face the other way. Earlier still, the daughters appeared on either side of their father in the intimate painting "Ludovic Lepic and His Daughters" (1871).
Young Woman in Blue
Young Woman in Blue is a drawing by French artist Edgar Degas, created in 1884. It is currently in the permanent collection at the Indianapolis Museum of Art.
Lynn Ahrens
They have written a dance musical, "Little Dancer", with direction and choreography by Susan Stroman, about a ballerina and Edgar Degas, which had a reading in 2010 at Lincoln Center Theater and a developmental lab production in June 2012. "Little Dancer" premiered at the Kennedy Center, Eisenhower Theater in October 2014 and closed on November 30, 2014. The cast starred Rebecca Luker, Boyd Gaines and Tiler Peck. The musical had a private reading on March 28, 2016, after having been revised.
Little Dedo
Little Dedo is, according to a story, a small gargoyle with pointy ears and human-like feet on the roof of Notre Dame Cathedral. According to a story published by Design Toscana, when the cathedral was built in 1160, a nun from a tiny convent in Provence, disliked the menacing gargoyles that were being placed on top of the building as reminders of the nature of sin and evil. As the daughter of a stone cutter, she had learned the tools of the trade and decided to put them to good use. One day, she disguised herself as a workman, gained entrance to the work site and quickly carved the sculpture from a small block before placing it on the highest roof.
Dancers Onstage
Dancers Onstage (French - "Danseuses sur la scène") is an 1889 oil on canvas painting by Edgar Degas, now in the Musée des Beaux-Arts de Lyon.
Les Choristes
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.
Huguette Clark
In March 2012, it was reported that shortly after Clark moved to a hospital in the early 1990s, a valuable pastel, "Danseuse Faisant des Pointes" ("Dancer Making Pointes"), by Edgar Degas, was stolen from her Fifth Avenue apartment. The painting was sold to Peter Findlay Gallery and later acquired in 1993 by H&R Block co-founder and art collector Henry W. Bloch. The Peter Findlay Gallery indicated that it acquired the piece from a "European gentleman, seemingly from a good family, who visited New York from time to time" and who claimed to have inherited the work. It was not until 2005 that the Federal Bureau of Investigation made Bloch aware that it was investigating the painting, and in 2007, they told Bloch that the painting had in fact been reported stolen from Clark.
Les Demoiselles d'Avignon
In 1907, when Picasso began to work on "Les Demoiselles", one of the old master painters he greatly admired was El Greco (1541–1614). At the time El Greco was largely obscure and under-appreciated. Picasso's friend Ignacio Zuloaga (1870–1945) acquired El Greco's masterpiece, the "Opening of the Fifth Seal", in 1897 for 1000 pesetas. While Picasso was working on "Les Demoiselles", he visited his friend Ignacio Zuloaga in his studio in Paris and studied El Greco's "Opening of the Fifth Seal." The relation between "Les Demoiselles d'Avignon" and the "Opening of the Fifth Seal" was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs and visually identifying qualities of both works were analyzed.
Edgar Degas
As his subject matter changed, so, too, did Degas's technique. The dark palette that bore the influence of Dutch painting gave way to the use of vivid colors and bold brushstrokes. Paintings such as "Place de la Concorde" read as "snapshots," freezing moments of time to portray them accurately, imparting a sense of movement. The lack of color in the 1874 "Ballet Rehearsal on Stage" and the 1876 "The Ballet Instructor" can be said to link with his interest in the new technique of photography. The changes to his palette, brushwork, and sense of composition all evidence the influence that both the Impressionist movement and modern photography, with its spontaneous images and off-kilter angles, had on his work.
Blurring the distinction between portraiture and genre pieces, he painted his bassoonist friend, Désiré Dihau, in "The Orchestra of the Opera" (1868–69) as one of fourteen musicians in an orchestra pit, viewed as though by a member of the audience. Above the musicians can be seen only the legs and tutus of the dancers onstage, their figures cropped by the edge of the painting. Art historian Charles Stuckey has compared the viewpoint to that of a distracted spectator at a ballet, and says that "it is Degas' fascination with the depiction of movement, including the movement of a spectator's eyes as during a random glance, that is properly speaking 'Impressionist'."
Degas's mature style is distinguished by conspicuously unfinished passages, even in otherwise tightly rendered paintings. He frequently blamed his eye troubles for his inability to finish, an explanation that met with some skepticism from colleagues and collectors who reasoned, as Stuckey explains, that "his pictures could hardly have been executed by anyone with inadequate vision". The artist provided another clue when he described his predilection "to begin a hundred things and not finish one of them", and was in any case notoriously reluctant to consider a painting complete.
Edgar Degas
In many subsequent paintings dancers were shown backstage or in rehearsal, emphasizing their status as professionals doing a job. From 1870 Degas increasingly painted ballet subjects, partly because they sold well and provided him with needed income after his brother's debts had left the family bankrupt. Degas began to paint café life as well, in works such as "L'Absinthe" and "Singer with a Glove". His paintings often hinted at narrative content in a way that was highly ambiguous; for example, "Interior" (which has also been called "The Rape") has presented a conundrum to art historians in search of a literary source—"Thérèse Raquin" has been suggested—but it may be a depiction of prostitution.
George de Cuevas
On 30 March 1958, at age 72, Cuevas faced off against the 52-year-old retired ballet master and choreographer Serge Lifar in a duel in France. The duel was precipitated by an argument over changes to "Black and White," ("Suite en blanc"), a ballet by Lifar that was being presented by the Cuevas ballet company. Lifar had his face slapped in public after insisting that he retained the rights to "Black and White". Lifar sent his seconds to Cuevas who refused to extend an apology and chose to duel with swords. As duels had been "technically outlawed" in the 17th Century, the time and location of the duel were not disclosed to the public. The duel was conducted in front of 50 newspaper photographers and ended with the two combatants in tears and embraces in what "The New York Times" called "what may well have been the most delicate encounter in the history of French dueling", with the sole injury being a cut on Lifar's right forearm in the seventh minute.
Edgar Degas
Degas created a substantial number of other sculptures during a span of four decades, but they remained unseen by the public until a posthumous exhibition in 1918. Neither "The Little Dancer of Fourteen Years" nor any of Degas's other sculptures were cast in bronze during the artist's lifetime. Degas scholars have agreed that the sculptures were not created as aids to painting, although the artist habitually explored ways of linking graphic art and oil painting, drawing and pastel, sculpture and photography. Degas assigned the same significance to sculpture as to drawing: "Drawing is a way of thinking, modelling another".
At the Moulin Rouge, The Dance
At the Moulin Rouge, the Dance is an oil-on-canvas painted by French artist Henri de Toulouse-Lautrec. It was painted in 1890, and is the second of a number of graphic paintings by Toulouse-Lautrec depicting the Moulin Rouge cabaret built in Paris in 1889. It portrays two dancers dancing the can-can in the middle of the crowded dance hall. A recently discovered inscription by Toulouse-Lautrec on the back of the painting reads: "The instruction of the new ones by Valentine the Boneless." This means that the man to the left of the woman dancing, is Valentin le désossé, a well-known dancer at the Moulin Rouge, and he is teaching the newest addition to the cabaret. To the right, is a mysterious aristocratic women in pink. The background also features many aristocratic people such as poet Edward Yeats, the club owner and even Toulouse-Lautrec's father. The work is currently displayed at the Philadelphia Museum of Art.
Raymond Delamarre
In 1925 and in collaboration with the architect Michel Roux Spitz, he took part in the competition to secure the work on the proposed "Monument à la Défense du canal de Suez" to be erected in Ismaîlia, a work of huge proportions and a most prestigious project. Also working with Roux-Spitz, he exhibited a sculptural composition for a water fountain at the Exposition des Arts Décoratifs in Paris, the bas-reliefs "Nessus et Dejanire" and "Persée et Andromède" cast in bronze in 1935, two tympani for the decorator Paul Follot, a bronze entitled "David" and a work in plaster entitled "Femme au bélier". Between 1926 and 1927, Delamarre worked on the "Mowgli" ronde-bosse. He also executed a bas-relief of Mowgli in plaster measuring 2 metres by 2 metres.
La danse, Bacchante
La danse (also known as Bacchante) is an oil painting created circa 1906 by the French artist and theorist Jean Metzinger (1883–1956). "Bacchante" is a pre-Cubist or Proto-Cubist work executed in a highly personal Divisionist style during the height of the Fauve period. "Bacchante" was painted in Paris at a time when Metzinger and Robert Delaunay painted portraits of one another, exhibiting together at the Salon d'Automne and the Berthe Weill gallery. "Bacchante" was exhibited in Paris during the spring of 1907 at the Salon des Indépendants (No. 3460), along with "Coucher de soleil" and four other works by Metzinger.
Louis-Marie Pilet
Edgar Degas made his portrait, ', in 1868 and showed him in ', behind bassoonist Désiré Dihau, circa 1870. Both paintings are kept at the musée d'Orsay.
Metamorphosis of Narcissus
Metamorphosis of Narcissus (1937) is an oil-on-canvas painting by the Spanish surrealist Salvador Dalí. This painting is from Dalí's paranoiac-critical period. According to Greek mythology, Narcissus fell in love with his own reflection in a pool. Unable to embrace the watery image, he pined away, and the gods immortalized him as a flower. Dalí completed this painting in 1937 on his long-awaited return to Paris after having had great success in the United States.
Stephen Flaherty
Flaherty and Ahrens’ next musical, "Little Dancer", featured direction and choreography by Susan Stroman. Inspired by the famous sculpture, "Little Dancer, Aged 14" by Edgar Degas, the musical had a reading in 2010 at Lincoln Center Theater and a developmental lab production in June 2010. The show premiered at the Kennedy Center’s Eisenhower Theater in October 2014. The cast included Rebecca Luker, Boyd Gaines and Tiler Peck. The musical is inspired by true events,[and] focuses on the relationship between a young ballerina and 19th century French painter and sculptor Edgar Degas. Much of the action is set in the Paris Opera Ballet. A re-working of the show, now titled “Marie” (after the name of the young ballerina), will have its west coast premiere at Seattle’s 5th Avenue Theatre in March 2019.
Suzanne Manet
Édouard Manet and Edgar Degas met by chance at the Louvre in 1862, and after an intense conversation and Manet's demonstration on the art of etching, they became lifelong friends. Sometime in 1868 Degas painted a portrait of Manet and his wife. Manet is reclining on a couch and Suzanne appears to be seated at a piano. The mystery that surrounds the portrait by Degas is the fact that the painting has been slashed from top to bottom and right through the likeness of Suzanne. The supposition is that Manet, for an unknown reason, cut the painting. Manet might have slashed the painting because he did not like the way Suzanne was painted, or because he was feuding at the time with Degas, or he might have been angry with his wife. When Degas saw what had been done to his painting he demanded its return, and he took it back. Degas intended to re-paint the likeness of Suzanne at the piano and he reiterated his intention to Ambroise Vollard in conversation with him around the turn of the century. Degas never got around to fixing the painting and it remains in its slashed state in the Kitakyushu Municipal Museum of Art in Japan.
Singer with A Glove
Singer with A Glove by Edgar Degas, originally titled Chanteuse de Café, la chanteuse au gant, is a pastel drawing on canvas 53.2 x 41 cm from the year 1878. Degas himself was a French artist famous for not only pastels, but his paintings, sculptures, prints, and charcoal drawings as well. This pastel is part of a series of works that have cafe-concert singers as their subject. Degas was a habitué of those places, especially the Cafe des Ambassadeurs, and he uses them as the settings for many of his best works. He is drawn to the dramatic poses of performers and singers, especially when presented, as here, from very close up.
Ludovic-Napoléon Lepic
During the next few years, he took up archaeology and between 1869–76 was a member of the "Société d’anthropologie de Paris". In 1872, he founded a museum at Aix-les-Bains and published a ground-breaking illustrated work on prehistoric tools, "Les armes et les outils préhistoriques reconstitués". His experiments with etching during this time were equally innovative, and he developed the technique of ‘variable etching’ ("eau-forte mobile") where, by varying the ink on the plate, he was able to produce individual results at each printing. He was to teach this technique to his old friend Edgar Degas and the two co-operated on, and duly signed, Degas' large monotype "The ballet master" of 1874, now in the National Gallery of Art, Washington.
Les Demoiselles d'Avignon
In November 1937 the Jacques Seligman & Co. art gallery in New York City held an exhibition titled "20 Years in the Evolution of Picasso, 1903–1923" that included "Les Demoiselles." The Museum of Modern Art acquired the painting for $24,000. The museum raised $18,000 toward the purchase price by selling a Degas painting and the rest came from donations from the co-owners of the gallery Germain Seligman and Cesar de Hauke.
Doug Fitch
On February 22, 2012, Giants Are Small and the New York Philharmonic announced a new collaboration, A Dancer's Dream, featuring Igor Stravinsky's ballets "Fairy's Kiss" and "Petrushka", conducted by Alan Gilbert, directed and designed by Doug Fitch and video directed and produced by Edouard Getaz in June 2013 at Avery Fisher Hall, Lincoln Center. The show is partially based on a version developed in 2008 at the University of Maryland, directed by Doug Fitch in collaboration with conductor James Ross. Early in 2013, Giants Are Small announced that the show will also comprise one excerpt of Louis Durey's "Neige". New York City Ballet's Sara Mearns will be the star ballerina, representing various characters throughout the show, in a choreography by Karole Armitage. The production features a mix of music, live filmmaking and puppetry, and ballet.
The Child's Bath
Cassatt was heavily influenced by her fellow Impressionist peers, especially Edgar Degas. The first Impressionist painting to make it back to the United States was a pastel by Degas in 1875 that she purchased. Cassatt began to exhibit with the Impressionists in 1877, where she met other fellow Impressionists like Claude Monet and Berthe Morisot. In 1890, she was struck by the prints of the Japanese woodcuts at the Beaux-Arts Academy in Paris during the exhibition, three years prior to painting "The Child's Bath". Cassatt was drawn to the simplicity and clarity of the Japanese design, and the skillful use of blocks of color. The perspective of the painting was inspired by Japanese prints and Degas. "Japanese printmakers were more interested in decorative impact than precise perspective."
Dancer in a Café
Danseuse au café (also known as Dancer in a Café or Au Café Concert and Danseuse) is a large oil painting created in 1912 by the French artist and theorist Jean Metzinger (1883–1956). The work was exhibited in Paris at the Salon d'Automne of 1912, entitled "Danseuse". The Cubist contribution to the 1912 Salon d'Automne created a controversy in the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such 'barbaric' art. The Cubists were defended by the Socialist deputy, Marcel Sembat. This painting was realized as Albert Gleizes and Jean Metzinger, in preparation for the Salon de la Section d'Or, published a major defence of Cubism, resulting in the first theoretical essay on the new movement, "Du «Cubisme»". "Danseuse au café" was first reproduced in a photograph published in an article entitled "Au Salon d'Automne "Les Indépendants"" in the French newspaper "", 2 Octobre 1912. The painting is now located at the Albright-Knox Art Gallery, Buffalo New York.
Waiting (Degas)
Waiting is a pastel on paper by the French Impressionist Edgar Degas, completed between 1880–82. It is an early example of the more than 200 pastels, paintings, mixed media drawings and sculptures of ballerinas depicted by Degas from the early 1880s. This work is regarded for its vibrant colouring and steep perspective.
The Three Dancers
Picasso painted "The Three Dancers" in Paris after a trip to Monte Carlo with his wife, ballet dancer Olga Khokhlova. At this time, Picasso was attracted to André Breton's Surrealism movement. In 1926 the painting appeared in Breton's work "Le surréalisme et la peinture" ("Surrealism and Painting"). Others link "Three Dancers" to Picasso's failing marriage to Khokhlova.
After the Bath, Woman Drying Herself
Nine of Degas' pastel drawings of women at their bath were exhibited by Theo Van Gogh at Galerie Boussod et Valadon in 1888. The work was shown at the Lefevre Gallery in 1950 and was bought for the collection of the National Gallery, London in 1959. A less highly worked example of a similar subject is in the Courtauld Gallery, and other works in the series are in many public museums.
The work had a considerable influence on Francis Bacon, most noticeably on his triptychs "Three Figures in a Room" (1964, Centre Pompidou, Paris) and "Three Studies of the Male Back" (1970, Kunsthaus Zürich). The Tate Gallery says "For Bacon [it] was indeed something of a talisman. It epitomised Degas's approach to a larger obsession the two artists shared with the plasticity of the body, its potential for the most varied forms of articulation, in movement and repose." The work was one of three central nudes chosen by Bacon in his "The Artist's Choice" exhibition at the National Gallery in 1985, shown between Velázquez's "Rokeby Venus" and Michelangelo's "Entombment". Art historian and curator Michael Peppiatt quoted Bacon thus: "I love Degas. I think his pastels are among the greatest things ever made. I think they're far greater than his paintings."
Demétre Chiparus
Chiparus created one of the most iconic bronzes in 1928 called "Danseuse au cerceau" or "Ring Dancer" inspired in the famous and prodigious dancer Zoula de Boncza of the Parisian "Folies Bergere", a first dancer of The Belgrado Royal Opera and a Mime dancer of "l'Opéra-Comique" in Paris. Later in life Zoula de Boncza, a descendant of Polish nobility and one of Loie Fuller best students, created a book published in 1961: the dance method "La Danse classique sans barre". The book was published with texts from Eugène de Rijac and Illustrations by Alexandre Berlant and Yvonne Breton.
The Dance Class (Degas, Metropolitan Museum of Art)
The painting and its companion work in the Musée d'Orsay, Paris are amongst the most ambitious works by Degas on the theme of ballet. The imaginary scene depicts a dance class being held under the supervision of Jules Perrot, a famous ballet master, in the old Paris Opera, which had actually burnt down the previous year.
The poster on the wall for Rossini’s Guillaume Tell is a tribute to the operatic singer Jean-Baptiste Faure, who had commissioned the work.
Edgar Degas
He was especially fascinated by the effects produced by monotype and frequently reworked the printed images with pastel. By 1880, sculpture had become one more strand to Degas's continuing endeavor to explore different media, although the artist displayed only one sculpture publicly during his lifetime.
These changes in media engendered the paintings that Degas would produce in later life. Degas began to draw and paint women drying themselves with towels, combing their hair, and bathing (see: "After the Bath, Woman drying herself"). The strokes that model the form are scribbled more freely than before; backgrounds are simplified.
Peter Sparling
Sparling was commissioned by the Detroit Institute of Arts to create work for both the "Detroit 300: Artists Take on Detroit: Projects for the Tricentennial" and the exhibit, "Degas and the Dance". His solo show, "Bodytalk: A Vaudeville for Dancing Man at Middle Age", premiered at the 2002 Ann Arbor Summer Festival, featuring original text and video as well as a host of distinguished collaborators such as Linda Gregerson, Rudolf Arnheim and Charles Baxter. His video/performance work, "Peninsula", received its premiere at the 2004 Ann Arbor Summer Festival and has toured throughout the state and to the Chicago Humanities Festival. It celebrates the cultural and economic history, geography and diverse landscapes of his home state of Michigan. His videodance, "Babel", was selected for screening at the 2007 NY Dance on Camera Festival at Lincoln Center. It also featured in his new videodance installation, Allegorica in November, 2007. His work, Vox Humana, was premiered by the Grand Rapids Ballet in April 2008. His next project, Climbing Ste.-Victoire, was a full-evening dance/theater work inspired by the late paintings of Cézanne.
Les dragons de Villars
Les dragons de Villars is an opéra-comique in three acts by Aimé Maillart to a libretto by Lockroy and Eugène Cormon. The story of the opera was said to have been borrowed from "La Petite Fadette" by Georges Sand, updated by the librettists to the time of Louis XIV. It was premiered by the Théâtre Lyrique in Paris on 19 September 1856.
Little Girl in a Blue Armchair
By 1877 Cassatt had come into frank conflict with the official French art establishment and had had both her submissions for that year rejected by the Salon. So when Edgar Degas invited her to join the Impressionists the same year, a group similarly disaffected by the "Salon" system, she accepted with alacrity. A planned 1878 exhibition did not take place, because of what Degas judged would be competition from the World's Fair held in Paris that year, but she did hold what amounted to a show of her own at the Spring 1879 Impressionist exhibition, exhibiting a dozen oils and pastels. Exactly which works these all were is not now known with certainty, but it is likely that "Little Girl in a Blue Armchair" was amongst them.
Tiler Peck
Tiler Peck has explored other activities besides ballet, such as musical theater and acting. As she had also studied in jazz, acting and singing. At the age of 11, she obtained a role in the production of "The Music Man" on Broadway and also starred in "On the Town". In 2014, Peck played the title role of the Kennedy Center production of the musical "Little Dancer" directed by Susan Stroman. The musical is inspired by the work of sculptor and painter Edgar Degas. She performed as Clara in the "Radio City Christmas Spectacular".
Palacio de Bellas Artes
The first National Theater of Mexico was built in the late 19th century, but it was soon decided to tear this down in favor of a more opulent building in time for Centennial of the Mexican War of Independence in 1910. The initial design and construction was undertaken by Italian architect Adamo Boari in 1904, but complications arising from the soft subsoil and the political problem both before and during the Mexican Revolution, hindered then stopped construction completely by 1913. Construction began again in 1932 under Mexican architect Federico Mariscal and was completed in 1934. The exterior of the building is primarily Neoclassical and Art Nouveau and the interior is primarily Art Deco. The building is best known for its murals by Diego Rivera, Siqueiros and others, as well as the many exhibitions and theatrical performances its hosts, including the Ballet Folklórico de México.
Philippe Demard
He created for the choreographer Philippe Jamet the video concept and the design of the installation : ""Portraits Dansés, tour de France"" (Theater of the Odéon, then tour in 15 cities in 2000)
This concept was adapted many times since : ""Portraits Dansés, le tour du Monde"" (creation in 2002 at the Theater of the Odéon ; then toured in 14 countries)""Portraits Dansés, le tour du monde"" was created during the first "Nuit Blanche" in Paris and in Rome, then shown at the Venice Biennale in 2003. At last "« Portraits dansés, Enfants du Monde »" (2006) and « Portraits dansés l’Europe à Paris » (2008)
Marie van Goethem
When "La Petite Danseuse de Quatorze Ans" was shown in Paris at the Sixth Impressionist Exhibition of 1881, it received mixed reviews. Though critics lauded the work as “the only truly modern attempt" at sculpture, the majority were shocked by the piece. They compared the dancer to a monkey and an Aztec, and referred to her as a "flower of precocious depravity" with a face "marked by the hateful promise of every vice" and "bearing the signs of a profoundly heinous character." She looked like a medical specimen, they reported, in part because Degas exhibited the sculpture inside a glass case.
Little Dancer of Fourteen Years
The sculpture is prominently featured in the 1993 thriller "Malice".
A Cotton Office in New Orleans
"A Cotton Office in New Orleans" was the first painting by Degas to be purchased by a museum, and the first by an Impressionist. Degas' sale of the piece marked a turning point in his career as he moved from being a struggling, unrecognized artist to a recognized and financially stable artist, according to Marilyn Brown in her book "Degas and the Business of Art: A Cotton Office in New Orleans."
Young Spartans Exercising
The painting was begun in 1860 with Degas returning to the canvas to rework the piece over the following years, though it remained unfinished upon the artist's death. X-rays taken of the work during the early 21st century have revealed that Degas changed the positioning of the youths, their faces, and even their number; this last change resulted in the strange image of the four women in the foreground having ten legs among them. Degas' revisitation of the faces of the young people is often mentioned in art criticism, as it is believed the artist changed the features of the youths from the classic handsome Greek ideal, to a more urban modernistic look. The French art historian André Lemoisne, was first to note on this fact, remarking that the subjects had a contemporary Parisian look, more akin to the "gamins of Montmartre". More recent critics agree with Lemoisne, believing Degas was attempting to "update" his painting. 
A second full-scale version of the painting exists, held by the Art Institute of Chicago. This version is much less finished, but it shows a vastly different background, with a more detailed landscape and a large architectural structure, around which the characters in the background are resting. The work also shows how Degas changed the number of foreground figures with an additional boy on the right of the painting.
Edgar Degas
Although he is known to have been working in pastel as late as the end of 1907, and is believed to have continued making sculptures as late as 1910, he apparently ceased working in 1912, when the impending demolition of his longtime residence on the rue Victor Massé forced him to move to quarters on Boulevard de Clichy. He never married and spent the last years of his life, nearly blind, restlessly wandering the streets of Paris before dying in September 1917.
Edgar Degas
His interest in portraiture led Degas to study carefully the ways in which a person's social stature or form of employment may be revealed by their physiognomy, posture, dress, and other attributes. In his 1879 "Portraits, At the Stock Exchange", he portrayed a group of Jewish businessmen with a hint of anti-Semitism. In 1881 he exhibited two pastels, "Criminal Physiognomies", that depicted juvenile gang members recently convicted of murder in the "Abadie Affair". Degas had attended their trial with sketchbook in hand, and his numerous drawings of the defendants reveal his interest in the atavistic features thought by some 19th-century scientists to be evidence of innate criminality. In his paintings of dancers and laundresses, he reveals their occupations not only by their dress and activities but also by their body type: his ballerinas exhibit an athletic physicality, while his laundresses are heavy and solid.
By the later 1870s Degas had mastered not only the traditional medium of oil on canvas, but pastel as well. The dry medium, which he applied in complex layers and textures, enabled him more easily to reconcile his facility for line with a growing interest in expressive color.
Little Dancer of Fourteen Years
The original wax sculpture was acquired by Paul Mellon in 1956. Beginning in 1985, Mr and Mrs Mellon gave the National Gallery of Art 49 Degas waxes, 10 bronzes and 2 plasters, the largest group of original Degas sculptures. "Little Dancer" was among the bequests. In 1997, the Airaindor-Valsuani foundry in France began casting a limited edition of Degas bronzes from the pre-1903 "Little Dancer" plaster. One such "Little Dancer" bronze is owned by the M.T. Abraham Foundation, which, at times, is lent to other institutions and museums including the State Hermitage Museum in Saint Petersburg, Russia. Like the various states of many of Degas' prints, the Valsuani bronzes record the first version of Degas' "Little Dancer", while the Hébrard casts record the second and final state of the sculpture.
Singer with A Glove
Ballet Rehearsal (1873) and The Ballet Class (1874) also depict performers both on stage and in practice. Degas is especially identified with the subject of dance; more than half of his works depict dancers alone. He is regarded as one of the founders of Impressionism, although he rejected the term, and preferred to think of himself as a realist. Singer with A Glove is currently at the Fogg Art Museum, a museum associated with Harvard University along with two other museums and four research centers. At the Fogg museum, they have a permanent exhibition featuring Degas and his works, with near 70 pieces in their collection. The Fogg was the first museum to mount an exhibition of works by Degas, which became a very pivotal moment in his lifetime. At the first initial showing at the Fogg, attendance totaled 550 people, which at the time was considered a success. Singer with A Glove has been present in the Fogg’s collection since 1951.
The Little Nigar
The Little Nigar (CD 122, L. 114) is the original title by composer Claude Debussy for a short piece for piano, composed in 1909 for a piano method, and published the same year. It was later also published as a single piece, titled The Little Negro and Le petit nègre.
Les Demoiselles d'Avignon
"Les Demoiselles" would not be exhibited until 1916, and not widely recognized as a revolutionary achievement until the early 1920s, when André Breton (1896–1966) published the work. Richardson goes on to say that Henri Matisse was fighting mad upon seeing the "Demoiselles" at Picasso's studio. He let it be known that he regarded the painting as an attempt to ridicule the modern movement; he was outraged to find his sensational "Blue Nude," not to speak of "Bonheur de vivre," overtaken by Picasso's "hideous" whores. He vowed to get even and make Picasso beg for mercy. Just as the "Bonheur de vivre" had fueled Picasso's competitiveness, "Les Demoiselles" now fueled Matisse's.
Alexandre Falguière
Falguière's first bronze statue of importance was "Le Vainqueur au Combat de Coqs (Victor of the Cockfight)" (1864), and "Tarcisius the Christian Boy-Martyr" followed in 1867; both were exhibited in the Luxembourg Museum and are now in the Musée d'Orsay. His more important monuments are those to Admiral Courbet (1890) at Abbeville and the famous Joan of Arc. Other works include "Eve" (1880), "Diana" (1882 and 1891), "Woman and Peacock" (a. k. a. "Juno and The Peacock"), and "The Poet", astride his Pegasus spreading wings for flight. He sculpted "The Dancer", based on Cléo de Mérode which today is also in the Musée d'Orsay.
In 1870 he helped create the snow sculpture, "La statue de la Résistance".
The Ballet Class (Degas, Musée d'Orsay)
The Ballet Class (French: La Classe de danse) is a painting by Edgar Degas, which was painted between 1871 and 1874. It is in the collection of the Musée d'Orsay, Paris, France. It was commissioned by Jean-Baptiste Faure. Degas temporarily abandoned work on this painting, and delivered a work of a similar name to Faure.
Désiré Dihau
He is best known for being the bassoonist of the Paris Opera, where he played from July 1, 1862 to December 31, 1889, immortalized by Edgar Degas in the 1870 painting, ', preceded by a sketch kept at the Fine Arts Museums of San Francisco. Degas also depicted him in other paintings in which were present the musicians of the Salle Le Peletier, ' in 1872 and both versions, of 1871 and 1876, of the ballet of "Robert le Diable". Degas probably met Dihau at the Mère Lefebvre, in Montmartre where artists and musicians gathered. It is Dihau who introduced Degas to the opera where the painter found his strongest inspiration in the spectacle of the dancers he so often painted.
Louis Deuchars
Louis Reid Deuchars (1870–1927) was a Scottish artist and sculptor.
Born in Comrie, Perthshire, Scotland, he attended Glasgow School of Art from 1887 to 1888. During his time in the city he was working as a stained-glass painter, possibly for a firm of decorators, such as J & W Guthrie. His series of lithographs, 'Picturesque Glasgow' was published in 'The Bailie' (1893–95). After sending a selection of his drawings to George Frederic Watts, 'England's Michelangelo', Deuchars secured work as an assistant to Watts at Compton, Surrey, England,where he worked on Watts' sculptures "Physical Energy" and "Lord Tennyson". However, his main employment there was as one of the four main workers assisting Mrs Watts, Mary Fraser Tytler, with her Watts Mortuary Chapel from 1895 to 1900. He helped her to run the classes attended by the local villagers, who modelled the decorative terra cotta tiles for the chapel. Then he went on in 1900 to do the same job at the Aldourie Pottery, Dores, her enterprise in the Highlands. It was near her childhood home of Aldourie Castle, Inverness-shire. During his association with the Wattses, he learned how to submit works to major art exhibitions & sold several.
Edgar Degas
Both regarded themselves as figure painters, and the art historian George Shackelford suggests they were influenced by the art critic Louis Edmond Duranty's appeal in his pamphlet "The New Painting" for a revitalization in figure painting: "Let us take leave of the stylized human body, which is treated like a vase. What we need is the characteristic modern person in his clothes, in the midst of his social surroundings, at home or out in the street." 
After Cassatt's parents and sister Lydia joined Cassatt in Paris in 1877, Degas, Cassatt, and Lydia were often to be seen at the Louvre studying artworks together. Degas produced two prints, notable for their technical innovation, depicting Cassatt at the Louvre looking at artworks while Lydia reads a guidebook. These were destined for a prints journal planned by Degas (together with Camille Pissarro and others), which never came to fruition. Cassatt frequently posed for Degas, notably for his millinery series trying on hats.
Little Dancer of Fourteen Years
After Degas' death, his heirs (brother and sister's children) made the decision to have the bronze repetitions of "La Petite Danseuse" and other wax and mixed-media sculptures cast. The casting took place at the Hébrard foundry in Paris from 1920 until 1936 when the Hébrard foundry went bankrupt and closed. Thereafter, "Hébrard" Degas "Little Dancer" bronzes were cast at the Valsuani foundry in Paris until the mid-1970s. Sixty-nine of Degas' wax sculptures survived the casting process. One copy of "La Petite Danseuse" is currently owned by the creator and owner of Auto Trader, John Madejski. He stated that he bought the sculpture by accident. That copy was sold for £13,257,250 ($19,077,250) at Sotheby's on February, 3rd 2009. Another Hébrard "Little Dancer" bronze failed to sell at a November 2011 auction at Christie's.
Little Tich
Little Tich's act matured during a tour of the United States between 1887 and 1889 where he established the Big-Boot Dance and impressed audiences with his ability to stand on the tips of the shoes and to lean at extraordinary angles. In the 1890s he developed the Serpentine Dance and had a major success with the Christmas pantomime "Babes in the Wood" in Manchester during the 1889–90 season. In 1891, he was recruited by the impresario Augustus Harris to appear in that years spectacular Theatre Royal, Drury Lane Christmas pantomime "Humpty Dumpty". He starred in a further two productions at the theatre including "Little Bo Peep" (1892) and "Robinson Crusoe" (1893).
Between 1896 and 1902 Little Tich performed in his own musical theatre company, and spent much of his time in Paris, where he became a popular variety artist. For his music hall acts, he created characters based on everyday observations. The characterisations used were "The Gas Inspector", "The Spanish Señora" and "The Waiter"; all three were later recorded onto shellac discs, of which he made twenty in total. He was married three times and fathered two children. In 1927 he suffered a stroke, which was partly triggered by a blow to the head which he had accidentally received during an evening performance at the Alhambra Theatre. He never recovered fully from the injury, and died the following year at his house in Hendon, aged 60.
Les Choristes
Les Choristes ("The Chorus" or "The Chorus Singers") is an 1877 pastel on monotype by French artist Edgar Degas. Part of a series of similar works depicting daily public entertainment at the time, it shows a group of singers performing a scene from the opera "Don Giovanni", the only work by Degas depicting an operatic performance without dancers.
Erté
"Demoiselle à la balancelle" is one of Erté's first sculptures, if not the first. Made in 1907, at the age of 15 years, during a stay in Paris. This work is less precise than his other sculptures, but still Art Nouveau. Erté considered this so minor and uninteresting that it does not appear in his official biography, but the cartouche on the back indicates 'ERTE PARIS 1907', in a triangle.
Marco Cochrane
"Bliss Dance," "Truth is Beauty" and "R-Evolution" collectively form "The Bliss Project", a trilogy of steel sculptures. The model for each piece was the singer and dancer Deja Solis. Cochrane met Solis in 2006 and asked her to model for a work in progress. During their fifth collaboration, Solis advanced the idea for the pose that would be sculpted as "Bliss Dance".
Little Dancer of Fourteen Years
To construct the statue, Degas used pigmented beeswax, with a metal armature, rope, and paintbrushes covered by clay for structural support.
The Millinery Shop
The Millinery Shop (1879/86) is a painting by French artist Edgar Degas. It depicts a woman sitting at a display table in a millinery shop, appearing to closely examine or work on a lady's hat, which she holds in her hands. The view of the scene is at an angle from above. Although Degas created several paintings concerning milliners, this painting is his "largest and only 'museum scale work' on this subject"., Art Institute of Chicago
M.T. Abraham Foundation
The foundation owns a complete collection of 74 bronze sculptures by the French Impressionist Edgar Degas, including a casting of "The Little Dancer Aged Fourteen." According to a number of experts, Degas, after meeting with criticism for his first sculpture "Little Dancer," had privately accumulated plasters for sculptures that were not found until after his death. They feature dancers, horses, bathers, etc. Apart from the M.T. Abraham Foundation, as of 2010 only four museums worldwide have near-complete collections.
Danse de la chèvre
Danse de la chèvre (French for Dance of the Goat) is a piece for solo flute by Arthur Honegger, written in 1921 as incidental music for dancer Lysana of Sacha Derek's play "La mauvaise pensée". At the start of the piece, there is a slow dreamlike introduction consisting of tritone phrases. This soon unwinds into the "goat-like" theme in a chromatically altered F major in 9/8 that skips along, providing the picture of a dancing goat. Following this theme is a more melodic theme or idea that gives off a more calming feeling. The goat theme and the calm theme both reoccur once again, and at the end of the piece the slow dreamlike idea returns and closes off the piece with a soft and quiet harmonic C for resolution. It is approximately three and a half minutes long. (The piece is approximately ABRSM grade eight standard and can also be found on the ABRSM flute diploma syllabus.)
L'Absinthe
L'Absinthe (English: The Absinthe Drinker or Glass of Absinthe) is a painting by Edgar Degas, painted between 1875 and 1876. Its original title was Dans un Café, a name often used today.
Edgar Degas
Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts. To preserve his family's reputation, Degas sold his house and an art collection he had inherited, and used the money to pay off his brother's debts. Dependent for the first time in his life on sales of his artwork for income, he produced much of his greatest work during the decade beginning in 1874. Disenchanted by now with the Salon, he instead joined a group of young artists who were organizing an independent exhibiting society. The group soon became known as the Impressionists. Between 1874 and 1886 they mounted eight art shows, known as the Impressionist Exhibitions. Degas took a leading role in organizing the exhibitions, and showed his work in all but one of them, despite his persistent conflicts with others in the group. He had little in common with Monet and the other landscape painters in the group, whom he mocked for painting outdoors. Conservative in his social attitudes, he abhorred the scandal created by the exhibitions, as well as the publicity and advertising that his colleagues sought. He also deeply disliked being associated with the term "Impressionist", which the press had coined and popularized, and insisted on including non-Impressionist artists such as Jean-Louis Forain and Jean-François Raffaëlli in the group's exhibitions. The resulting rancor within the group contributed to its disbanding in 1886.
Cubism
Cubism burgeoned between 1907 and 1911. Pablo Picasso's 1907 painting "Les Demoiselles d'Avignon" has often been considered a proto-Cubist work. Georges Braque's 1908 "Houses at L’Estaque" (and related works) prompted the critic Louis Vauxcelles, in "Gil Blas", 25 March 1909, to refer to "bizarreries cubiques" (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as "Reservoir at Horta de Ebro", as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.
Little Dancer (musical)
Little Dancer is a musical with music by Stephen Flaherty and book and lyrics by Lynn Ahrens, based on the 1880 statue of the same name. The musical premiered at the Kennedy Center in Washington, D.C. in 2014. The original production was directed and choreographed by Susan Stroman.
Henri Matisse
After 1930 a new vigor and bolder simplification appeared in his work. American art collector Albert C. Barnes convinced Matisse to produce a large mural for the Barnes Foundation, "The Dance II", which was completed in 1932; the Foundation owns several dozen other Matisse paintings. This move toward simplification and a foreshadowing of the cutout technique is also evident in his painting "Large Reclining Nude" (1935). Matisse worked on this painting for several months and documented the progress with a series of 22 photographs, which he sent to Etta Cone.
Kinetic art
One of his most revolutionary works, "L’Orchestre de l’Opéra" (1868) interprets forms of definite movement and gives them multidimensional movement beyond the flatness of the canvas. He positions the orchestra directly in the viewer’s space, while the dancers completely fill the background. Degas is alluding to the Impressionist style of combining movement, but almost redefines it in a way that was seldom seen in the late 1800s. In the 1870s, Degas continues this trend through his love of one shot motion horseraces in such works as "Voiture aux Courses" (1872).
Little Dancer of Fourteen Years
The sculpture is one-third life size and was originally sculpted in wax, a somewhat unusual choice of medium for the time. It is dressed in a real bodice, tutu and ballet slippers and has a wig of real hair. All but a hair ribbon and the tutu are covered in wax. The 28 bronze repetitions that appear in museums and galleries around the world today were cast after Degas' death. The tutus worn by the bronzes vary from museum to museum.
Edgar Degas
Edgar Degas ( or ; born Hilaire-Germain-Edgar De Gas, ; 19 July 1834 – 27 September 1917) was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance; more than half of his works depict dancers. Regarded as one of the founders of Impressionism, he rejected the term, preferring to be called a realist. He was a superb draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects and female nudes. His portraits are notable for their psychological complexity and for their portrayal of human isolation.
Les Demoiselles d'Avignon
Painted in Paris during the summer of 1907, Picasso had created hundreds of sketches and studies in preparation for the final work. He long acknowledged the importance of Spanish art and Iberian sculpture as influences on the painting. The work is believed by critics to be influenced by African tribal masks and the art of Oceania, although Picasso denied the connection; many art historians remain skeptical about his denials. Several experts maintain that, at the very least, Picasso visited the Musée d'Ethnographie du Trocadéro (known today as Musée de l'Homme) in the spring of 1907 where he saw and was unconsciously influenced by African and Tribal art several months before completing "Les Demoiselles."
Young Spartans Exercising
Young Spartans Exercising, also known as Young Spartans and also as Young Spartan Girls Challenging Boys, is an early oil on canvas painting by French impressionist artist Edgar Degas. The work depicts two groups of male and female Spartan youth exercising and challenging each other in some way. The work is now in the permanent collection of the National Gallery in London.
Edgar Degas
After Degas's death, his heirs found in his studio 150 wax sculptures, many in disrepair. They consulted foundry owner Adrien Hébrard, who concluded that 74 of the waxes could be cast in bronze. It is assumed that, except for the "Little Dancer Aged Fourteen", all Degas bronzes worldwide are cast from "" (i.e., cast from bronze masters). A "surmoulage" bronze is a bit smaller, and shows less surface detail, than its original bronze mold. The Hébrard Foundry cast the bronzes from 1919 until 1936, and closed down in 1937, shortly before Hébrard's death.
Edgar Degas
Upon his return to France in 1859, Degas moved into a Paris studio large enough to permit him to begin painting "The Bellelli Family"—an imposing canvas he intended for exhibition in the Salon, although it remained unfinished until 1867. He also began work on several history paintings: "Alexander and Bucephalus" and "The Daughter of Jephthah" in 1859–60; "Sémiramis Building Babylon" in 1860; and "Young Spartans" around 1860. In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy, and made the earliest of his many studies of horses. He exhibited at the Salon for the first time in 1865, when the jury accepted his painting "Scene of War in the Middle Ages", which attracted little attention. Although he exhibited annually in the Salon during the next five years, he submitted no more history paintings, and his "Steeplechase—The Fallen Jockey" (Salon of 1866) signaled his growing commitment to contemporary subject matter. The change in his art was influenced primarily by the example of Édouard Manet, whom Degas had met in 1864 (while both were copying the same Velázquez portrait in the Louvre, according to a story that may be apocryphal).
Count Lepic and His Daughters
Ludovic Lepic and His Daughters () is a painting by Edgar Degas that was completed around 1871. The painting depicts Ludovic-Napoléon Lepic with his young daughters.
The Four Little Girls
The Four Little Girls ("Les Quatre Petites Filles") is a play written in French by the painter Pablo Picasso. It is the second of two full-length plays written by Picasso, the first being "Desire Caught by the Tail". Written between November 24, 1947, and August 13, 1948, it was published in 1949. In 1952 Picasso wrote a second version of the play using the same title.
Little Girl in a Blue Armchair
Cassatt submitted the painting to the Art Gallery of the American pavilion at the 1878 World's Fair, along with another that cannot now be identified. To her intense annoyance it was rejected, although the other was accepted. She expressed her irritation in a 1903 letter to the Parisian art dealer Ambroise Vollard, which makes it plain how much Degas had been involved (he also supplied the model, a daughter of friends of his): "It was the portrait of a friend of M. Degas. I had done the child in the armchair and he found it good and advised me on the background "and he even worked on it". I sent it to the American section of the big exposition [of 1878], they refused it ... I was furious, all the more so since he had worked on it. At that time this appeared new and the jury consisted of three people of which one was a pharmacist!" Indeed, the painting is often cited as an example of Degas' influence.
Attila Dargay
He began working as a scenery painter for the Hungarian National Theatre in the late 1940s. Hedirected such animations productions as "Hajra, Mozdony!" (1972), "Mattie the Goose-boy" (1977), "The Little Fox" (1981), "Szaffi" (1983), and "Captain of the Forest" (1988). He studied at the College of Fine Arts in Budapest until 1948 when he was discharged because of political reasons. From 1951 he worked as a stage setting painter at Hungary's National Theatre, and in parallel he worked as a trainee on animated films, from 1954 he worked as a cartoon planner. He became an animated-film director in 1957, his first independent director-piece being the "Don't give in little man!" ("Ne hagyd magad emberke!") in 1959. He started working at the then formed Pannonia Film Studio in 1957. His films are popular among both children and adults. He is also author of several animated books and comic strips. His best known strip figure is dog Kajla (Kajla kutya). His good humour reflects in all his works, which made all generations laugh among his audience. In 2008 his most known animated movie was re-filmed by György Gát, but Dargay did not approve using his original characters because he did not agree with the spirit of the new movie. He died a year later, aged 82 in Budapest.
Little Dancer of Fourteen Years
Realistic wax figures with real hair and real clothes had also been popular in religious, Folk, and fine arts for centuries before Degas created his "Little Dancer".
Marie van Goethem
Marie Geneviève van Goethem (or Goetham or Goeuthen; born 7 June 1865) was a French ballet student and dancer with the Paris Opera Ballet, and the model for Edgar Degas's statue "Little Dancer of Fourteen Years" ("La Petite Danseuse de Quatorze Ans").
Little Dancer of Fourteen Years
Art historian Richard Kendall published a scholarly account of the history of Degas's sculpture, "Degas and the Little Dancer", with contributions by Douglas Druick and Arthur Beale. The BBC Two documentary "The Private Life of a Masterpiece: Little Dancer Aged Fourteen", produced in 2004, closely examines the sculpture, the model, the circumstances of her life, and the critical reaction to the work. Cathy Marie Buchanan's novel, "The Painted Girls", presents a fictionalised account of the life of Marie van Goethem, the model for the sculpture, as does Carolyn Meyer's young adult novel "Marie, Dancing" and Laurence Anholt's children's picture book "Degas and the Little Dancer". In 2014, the Kennedy Center for the Performing Arts in Washington, D.C. premiered the stage musical, "Little Dancer", inspired by the story of the young ballerina immortalized by Edgar Degas in his famous sculpture. On September 12, 2016, Dr. Gregory Hedberg presented a paper entitled "Unraveling the Mysteries of Degas’ "Little Dancer, Aged Fourteen"," at the French Institute, Alliance Français, in New York City.
The Dance II
The Dance II by Henri Matisse is a triptych mural (15 ft high by 45 ft long) in the Barnes Foundation. It was created in 1932 at the request of Albert C. Barnes after he met Matisse in the United States. Barnes was an art enthusiast and long-time collector of Matisse's works, and agreed to pay Matisse a total of $30,000 for the mural, which was expected to take a year.
Lorenzo Domínguez
In 1939 Lorenzo Domínguez returned to Santiago de Chile and continued teaching sculpture at the Escuela de Bellas Artes. From June to September, 1939, three of his sculptures were exhibited at the New York Riverside Museum, in the Latin American Exhibition of Fine and Applied Art ("Lilión", "Saint Olalla" and "Cajal"). Between 1939 and 1941 Lorenzo Domínguez completed the monument "To Dr. Luis Calvo Mackenna", a Chilean pediatrician. This maternity scene in black basalt is located in the Parque Balmaceda of Santiago. He also completed an important black basalt sculpture, "Portrait of the Moon", the first of his "Planetarium series"; and a stone portrait of the "Painter Augusto Eguiluz". Domínguez's masterpiece from this period is "Victor Delhez", a portrait of the Belgian engraver, carved in Carrara marble.
Caballos de vapor
"Caballos de vapor" originated in discussions between the composer and the painter Agustín Lazo Adalid in 1922 or 1923 about a multi-media work concerning mechanization and its impact on society in modern-day Mexico (; ). According to another account, however, it was only first in 1926 that the idea was born, in discussions with another visual artist, Diego Rivera, and Rivera was intended to design and produce the decor and costumes . In any case, the music was composed in stages, beginning in 1926 with the fourth movement, originally scored for a small orchestra. It was premiered as a separate piece in a concert of the International Composers Guild at the Aeolian Hall in New York, under the baton of Eugene Goosens, on November 28, 1926. This was followed by portions of the second and third movements, which were originally intended to end with the "Danza ágil" (originally called "Gimnástica") and the "Sandunga", respectively. The first movement was written in 1929, and was for large orchestra from the beginning. In 1931 Chávez expanded the orchestration of the second and third movements. The final touch was accomplished in February 1932 when Chávez added the "Danza general" to end the second movement (; ). The completed ballet was premiered in Philadelphia by the Philadelphia Grand Opera Company, with the Philadelphia Orchestra conducted by Leopold Stokowski on March 31, 1932. Stage direction was by Wilhelm von Wymetal, Jr., sets and costumes were by Diego Rivera, and choreography by Catherine Littlefield. Alexis Dolinoff and Dorothie Littlefield danced the principal roles. The composer was in the audience . "A special train brought in a New York audience to add to the Philadelphia patrons. Aboard the train were, among other luminaries, Diego Rivera and his wife, the Mexican painter Frida Kahlo; George Gershwin; and Chávez's friend Aaron Copland" .
Les Demoiselles d'Avignon
It is at this point, the beginning of 1907, that I propose to bring this first volume to an end. The 25-year-old Picasso is about to conjure up a quintet of Dionysiac "Demoiselles" on his huge new canvas. The execution of this painting would make a dramatic climax to these pages. However, it would imply that Picasso's great revolutionary work constitutes a conclusion to all that has gone before. It does not. For all that the "Demoiselles" is rooted in Picasso's past, not to speak of such precursors as the Iron Age Iberians, El Greco, Gauguin and Cézanne, it is essentially a beginning: the most innovative painting since Giotto. As we will see in the next volume, it established a new pictorial syntax; it enabled people to perceive things with new eyes, new minds, new awareness. "Les Demoiselles d'Avignon" is the first unequivocally 20th-century masterpiece, a principal detonator of the modern movement, the cornerstone of 20th-century art. For Picasso it would also be a rite of passage: what he called an exorcism.' It cleared the way for cubism. It likewise banished the artist's demons. Later, these demons would return and require further exorcism. For the next decade, however, Picasso would feel as free and creative and 'as overworked' as God.
Portraits at the Stock Exchange
Portraits at the Stock Exchange (also known as At the Bourse) is a painting by the French artist Edgar Degas. Completed in about 1879, the painting was already in the collection of the French banker Ernest May when it was listed in the catalogue of the fourth Impressionist exhibition that year. It may also have been shown in the next Impressionist exhibit in 1880, but it was not well known until it entered the collections of the Louvre in 1923. The canvas shows an interior corner of the open trading floor of the Paris Stock Exchange (The Paris Bourse). May stands in the center of the picture wearing a top hat and pince-nez, listening to his colleague, a certain M. Bolâtre, leaning over his shoulder. They are likely discussing a document, possibly a bordereau, held aloft by a partially obscured third party.
Maison Devambez
The "Exposition de Peinture Moderne" organised by M. Paul Guillaume in the Galerie Devambez from 27 January to 12 February 1920 with an introductory text by Guillaume Apollinaire is considered as a turning point in the modern art history. Picasso exhibited four works : "Tête", "Buste", "Nature Morte", and "Nu de Femme". Modigliani exhibited twelve : La Demoiselle du dimanche, Portrait de Jean Cocteau, La Dame au médaillon, La Collerette blanche, La jolie Fille rousse, Le Liseré noir, Madam Pompadour, Femme au fauteuil, Beatrice, L’Enfant gras, La Rouqine, Tête de Femme, and Raymond. Matisse exhibited one painting, "Les Trois sœurs", and four bronze sculptures : "Le Serf", "Femme accroupie", "Tête de femme", and "Torse de fillette". Giorgio de Chirico's important painting "Il Ritornante", also exhibited at this show, sold from the collection of Pierre Bergé - Yves Saint Laurent at Christie's in February 2009 for €11,041,00 ($14,285,461).
Waiting (Degas)
The background is formed from a wide variety of oranges, browns and blacks, while the younger woman is portrayed in pink, blue, and creamy tones which highlight her softness compared to the severity of the older woman. The work is executed with an innovative mixture of subtle (the woman's feet), slashed (the bench) and hatched (the younger woman's dress) strokes.
Degas was taken by the peripheral world of the dancers, the rehearsals and backstage moments, a world to which he did not have access to until 1885; he only became interested in the ballet in 1870, and backstage was strictly limited to long term patrons. His removal from the moment reflected in the image is highlighted by the unusually steep perspective; the viewer seems to be positioned far above the two women; looking down as if seated in a box above the auditorium.
Degas was aware from an early point in his studies of the exhaustion of the girls, and the extent to which they pushed the limits of their bodies for fleeting moments of elegance. He was further conscious of the brevity of a ballerina's career, and the positioning of the older chaperone–more than likely an ex-dancer herself–in this work adds to its poignancy; the younger woman representing what her forlorn looking companion once was. Degas, mindful of this, presents an interesting irony - while the young woman waits to make her entrance the older woman waits for her to leave. The tip of the chaperone's umbrella points in the direction the dancer must take; towards the stage and away from her guardian.
Maxime Dethomas
Lautrec featured Dethomas in his art with some frequency. On April 6, 1895, the former "Moulin Rouge" dancer Louise 'La Goulue' Weber commissioned two large canvases to adorn her travelling show's tent. Dethomas appears on the left-hand panel, with his back turned to the viewer. At around the same period, Toulouse-Lautrec declared "I will capture your immobility in places of pleasure", and over the course of one and a half years, he made numerous preparatory sketches of Dethomas intended for a single painting, each taking anywhere from five to fifteen minutes to create. Completed in 1896, the famous portrait of "Maxime Dethomas at the Bal de l'Opera" now hangs in the National Gallery of Art, Washington D.C.. Another portrait of his friend took the form of a risque lithograph entitled "Debauche Avec Dethomas", and was later used on the cover of an exhibition catalogue of June, 1896. Finally, an 1896 lithograph entitled "Anna Held et Baldy" also features Dethomas, leering provocatively at the famous stage performer. Toulouse-Lautrec gifted a copy of this lithograph to Dethomas, which he retained until his death. During the final years of Toulouse-Lautrec's descent into full-blown alcoholism, Dethomas would rarely leave his side, often escorting him to his Montmartre home at the end of long drinking sessions. Toulouse-Lautrec's final convalescence at Madrid-les-Bains and Bordeaux in the months leading up to his death, prompted Dethomas to make one last journey for his old friend, their friendship lasting until the very end.
La Danse (Carpeaux)
La Danse is an 1868 sculpture by the French artist Jean-Baptiste Carpeaux. It was one of four sculptural groups made from Echaillon marble that decorate the façade of the Opera Garnier in Paris, two to either side of the entrance at ground level. The work was installed in 1869, and widely criticised as obscene. It was attacked in August 1869 when an anonymous vandal threw black ink over it. The scandal subsided after the outbreak of the Franco-Prussian War in 1870, and the original statue remained on the façade at the opera until it was transferred to the Louvre Museum in 1964 and replaced by a copy. The original was moved to the Musée d'Orsay in 1986.
Picasso and the Ballets Russes
Pablo Picasso and the Ballets Russes collaborated on several productions. Pablo Picasso's Cubist sets and costumes were used by Sergei Diaghilev in the Ballets Russes's "Parade" (1917, choreography: Léonide Massine), "Le Tricorne" ("The Three-Cornered Hat") (1919, choreography: Massine), "Pulcinella" (1920, choreographer: Massine), and "Cuadro Flamenco" (1921, choreography: Spanish folk dancers). Picasso also drew a sketch with pen on paper of "La Boutique fantasque" ("La course"), (1919, choreography: Massine). and designed the drop curtain for "Le Train Bleu" (1924, choreography: Bronislava Nijinska), based on his painting, "Two Women Running on the Beach" ("The Race"), 1922.
The idea for the set design of "Parade" came from the decorations at a small vaudeville theater in Rome as well as the décor of the Teatro dei Piccoli, a marionette theater. The original model was crafted in a cardboard box. Picasso realized immediately that he liked using vivid colors for his sets and costumes because they registered so well with the audience. While the sets, costumes and music by Erik Satie were well received by critics, the ballet in general was panned when it first premiered and played for only two performances. When it was revived in 1920, however, Diaghilev said, ""Parade" is my best bottle of wine. I do not like to open it too often." 
Picasso's sets and costumes for the Ballets Russes are now considered symbols of "the progressive art of their time, and [they] have only become more celebrated and better appreciated over the past century." Nevertheless, according to his biographer, John Richardson, "Picasso's Cubist followers were horrified that their hero should desert them for the chic, elitist Ballets Russes." It was the onset of World War I that prompted him to leave Paris and live in Rome, where the Ballets Russes rehearsed. He also was recovering from two failed love affairs at this time. Soon after he arrived in Rome, however, he met ballerina Olga Khokhlova, and married her in 1918. He remained married to her until her death in 1955, although they separated by the late 1920s. He also became friends with Massine while in Rome; they were both interested in Spanish themes, women, and modern art. Picasso also became friends with Igor Stravinsky during this time, though he found Diaghilev to be possessive and did not become close to him. Picasso was even quoted as saying that he "felt a desperate need to travel back to the land of human beings" after spending time with Diaghilev. Diaghilev, however, valued Picasso's work, and the drop curtain he created for "Le Train Bleu" - the painting of which was completed not by Picasso, but by Prince Alexander Schervashidze - was deemed so impressive that Diaghilev used it as the logo for the Ballets Russes.
The writer Jean Cocteau, who introduced Picasso to Diaghilev, wrote the scenario for "Parade", and was Picasso’s neighbor in Rome said, "Picasso amazes me every day, to live near him is a lesson in nobility and hard work ... A badly drawn figure of Picasso is the result of endless well-drawn figures he erases, corrects, covers over, and which serves him as a foundation. In opposition to all schools he seems to end his work with a sketch." Additionally, Guillaume Apollinaire, who wrote the program notes for "Parade", described Picasso's designs as "a kind of surrealism" three years before Surrealism developed as an art movement in Paris.
Prostitution in Impressionist painting
Degas's initial interest in prostitutes, in the years 1876-1890, started with his interest in Edmond de Goncourt's novel "La Fille Elisa" (1877). In 1876-1877, Degas filled a sketchbook with illustrations from de Goncourt's novel depicting scenes of a girl who becomes a prostitute with her soldier lover. Following soon after, Degas began illustrating the monotypes of brothel scenes, drawing the same physical type as the illustrations in his sketchbook. Although Degas drew individual prostitutes in a notebook, his actual monotypes were entire brothel scenes. 
Several scholars have tried to identify a literary source of Degas' fifty-some brothel monotypes, but none have found a direct connection. However, there have been parallels to Huysman's "Marthe, histoire d'une fille" (1876), and in Émile Zola's "Nana" (1880). Although the prostitution themes of the novels and of Degas' monotypes have similarities, there is a difference between the treatment of the subject; while Degas' prostitutes are "earthy, ugly creatures", the novelists tend to depict their prostitutes as more "heroic and noble".
Mischa Scorer
In 2003 he wrote and directed “Degas and the Dance” for PBS “Great Performances” series, a film in HD about the painter Edgar Degas and his obsession with dancers. This was co-produced with the BBC, Arte and NHK and the film won him a Peabody Award.
Detroit Institute of Arts
Degas and the Dance (October 20, 2002 - January 12, 2003)
This exhibit includes more than 100 pieces of work created by Edgar Degas. These pieces include model stage sets, costume designs, and photographs of the dancers from the 19th-century Parisian ballet.
Magnificenza! The Medici, Michelangelo and The Art of Late Renaissance Florence (March 16, 2003- June 8, 2003)
The exhibit displays art of the cultural successes of the first four Medici grand dukes of Tuscany during 1537-1631, along with their connection with Michelangelo and his art in the Late Renaissance Florence.
When Tradition Changed: Modernist Masterpieces at the DIA (June, 2003- August, 2003)
This exhibit only contains pieces from the DIA's collection from the late 19th-century and early 20th-century and displays the different choices artists expressed themselves after 1900.
Then and Now: A selection of 19th- and 20th-Century Art by African American Artists (July, 2003-August, 2003)
Roughly 40 objects in this exhibit, organized by the General Motors Center for African American Art, display the artistic styles of African American artists during the past two hundred years. This exhibit includes work from Joshua Johnson, Robert Scott Duncanson, Henry Ossawa Tanner, Augusta Savage, Benny Andrews, Betye Saar, Richard Hunt, Sam Gilliam, and Lorna Simpson. Allie McGhee, Naomi Dickerson, Lester Johnson, Shirley Woodson, and Charles McGee are some of the Detroit artists that were included in the installation.
Art in Focus: Buddhist Sculpture (Through July 14, 2003)
This exhibit contains one Buddhist sculpture in each of the Asian galleries. These sculptures symbolize enlightenment, selflessness, wisdom and tranquility.
Yoko Ono's Freight Train (September 17, 2003- July 19, 2005)
"Freight Train", constructed by Yoko Ono in 1999, is a German boxcar with bullet holes and is set on a section of railroad track displayed outdoors.
Kenneth MacMillan
On the strength of the workshop successes, de Valois commissioned the 25-year-old MacMillan to create a ballet for performance at Sadler's Wells. "Danses concertantes", to music by Stravinsky, was first produced in January 1955, with designs by Nicholas Georgiadis, with whom MacMillan collaborated extensively over the next years. Parry counts among MacMillan's early influences the modernism of choreographers such as Roland Petit, Jerome Robbins and Antony Tudor, and the craftsmanship of Ashton, from whom MacMillan said he learned how a ballet was made. "The Times" commented that with this piece it was clear that a powerful choreographic talent had arrived. The critic Clement Crisp has described the piece as "a bravura display using a witty, allusive classical vocabulary, remade by a creator who knew the cinema and spoke the movement language of his generation". With the success of "Danses concertantes" MacMillan concluded that his future lay in choreography rather than dancing. After a fierce argument with de Valois, who wanted him to continue in both capacities, he got his way, and from 1955 his contract with the company (on a slightly reduced salary) was purely as a choreographer. His only Covent Garden appearances as a dancer after that were two performances as an Ugly Step-sister in "Cinderella" alongside Ashton in 1956.