XXVIII, dates it 1877 incorrectly identifies the medium as tempera states that two versions exist, one in the Rouart collection and a replica with variations in the Havemeyer collection. December 24, 1912, relates Degas's comments regarding the medium and care of this painting. "Degas." L'art et les artistes 7 (April–September 1908), ill. Modern Art, Being a Contribution to a New System of Aesthetics. 5, states that Rouart prevented Degas from retrieving this picture for revisions. Henri Rouart." Les Arts 1 (June 1902), p. 423, considers it perhaps the finest of Degas's ballet pictures. "Degas: The Painter of Modern Life." Magazine of Art 13 (October 1890), p. "Les intransigeants et les impressionnistes: Souvenirs du salon libre de 1877." L'artiste 2 (November 1, 1877), pp. "Causerie artistique: L'Exposition des "impressionnistes"." La Revue politique et littéraire 44 (April 28, 1877), p. "L'Exposition des peintres impressionnistes." Le temps (April 22, 1877), p. "Exposition des impressionnistes: 6, rue Le Peletier 6." La Petite république française (April 10, 1877), p. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no. "Degas in the Metropolitan," February 26–September 4, 1977, no. "The Impressionist Epoch," December 12, 1974–February 10, 1975, not in catalogue. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971, no. "Masterpieces of Painting in The Metropolitan Museum of Art," September 16–November 1, 1970, unnumbered cat. 57 (as "Dancers Practising at the Bar "). Havemeyer Collection," March 10–November 2, 1930, no. "3e exposition de peinture ," April 1877, no.
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