COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
DMA_.1985.R.28
amicoid
DMA_.1985.R.28
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Name:
Gauguin, Paul
crn
Gauguin, Paul
Creator Name
false
Creator Dates/Places:
French, 1848 - 1903
cdt
French, 1848 - 1903
Creator Dates/Places
false
Creator Name-CRT:
Paul Gauguin
crt
Paul Gauguin
Creator Name-CRT
false
Title:
Portrait Vase of Mme. Schuffenecker
otn
Portrait Vase of Mme. Schuffenecker
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1889-90
oct
c. 1889-90
Creation Date
false
Creation Start Date:
1889
ocs
1889
Creation Start Date
false
Creation End Date:
1890
oce
1890
Creation End Date
false
Materials and Techniques:
Glazed stoneware
omd
Glazed stoneware
Materials and Techniques
false
Dimensions:
Overall: 9 5/16 x 6 3/4 in. (23.66 x 17.15 cm.) Diameter: 7 in. (17.78 cm.)
met
Overall: 9 5/16 x 6 3/4 in. (23.66 x 17.15 cm.) Diameter: 7 in. (17.78 cm.)
Dimensions
false
AMICA Contributor:
Dallas Museum of Art
oon
Dallas Museum of Art
AMICA Contributor
false
Owner Location:
Dallas, Texas, USA
oop
Dallas, Texas, USA
Owner Location
false
ID Number:
1985.R.28
ooa
1985.R.28
ID Number
false
Credit Line:
Dallas Museum of Art, The Wendy and Emery Reves Collection
ooc
Dallas Museum of Art, The Wendy and Emery Reves Collection
Credit Line
false
Rights:
orl
<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>
Rights
false
Context:
Edgar Degas created this monumental bather composition in the mid-1890s, probably after he had seen the great Cézanne exhibition held at Vollard's gallery in the spring of 1895. Cézanne's work was perhaps the impetus for Degas to move his bathers out-of-doors and away from the urban brothels, boudoirs, and bathrooms that he had favored. It may also have been Cézanne's example that pushed Degas to create these bathers on such a large scale. The Reves pastel is of identical dimension to another outdoor bather scene, now in the Art Institute of Chicago, and it is possible that the two works were conceived as pendants. However, they were neither completed nor exhibited as such during the painter's lifetime, and both were included in the huge auctions held in Paris after the painter's death.The principal oddities of the Reves pastel are the two figures on the right. When one compares the sheet with an even larger charcoal drawing with the same figures that were also included in the Degas sales (Lemoisne 1946, vol. 3, no. 1070), it becomes clear that Degas cropped both these figures from the Reves sheet so as to concentrate the composition on the bather combing her hair. It is likely that the Reves sheet was traced from the original charcoal version onto a very large sheet of tracing paper, which was probably chosen to match the dimensions of the Chicago painting.These immense bathers have an undeniable physicality. Even the hair of the central figure seems to have weight as it flows over her head across the front of her body. Degas's inclusion of a cow in a nearby field can be read in two ways- as a pictorial indicator of the rusticity of the subject or as an unsubtle analogy between woman and barnyard beast. In spite of Degas's well-known misogynist tendencies, the latter reading seems farfetched, and the more likely interpretation of this scene, and of other outdoor nudes by Degas, is that it was intended to be a rural counter to the bathers in interior settings for which the artist was already famous. Few pastels from Degas's late career are as magisterial, ambitious, and powerful as the Reves "Bathers.""Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 119
cxd
Edgar Degas created this monumental bather composition in the mid-1890s, probably after he had seen the great Cézanne exhibition held at Vollard's gallery in the spring of 1895. Cézanne's work was perhaps the impetus for Degas to move his bathers out-of-doors and away from the urban brothels, boudoirs, and bathrooms that he had favored. It may also have been Cézanne's example that pushed Degas to create these bathers on such a large scale. The Reves pastel is of identical dimension to another outdoor bather scene, now in the Art Institute of Chicago, and it is possible that the two works were conceived as pendants. However, they were neither completed nor exhibited as such during the painter's lifetime, and both were included in the huge auctions held in Paris after the painter's death.The principal oddities of the Reves pastel are the two figures on the right. When one compares the sheet with an even larger charcoal drawing with the same figures that were also included in the Degas sales (Lemoisne 1946, vol. 3, no. 1070), it becomes clear that Degas cropped both these figures from the Reves sheet so as to concentrate the composition on the bather combing her hair. It is likely that the Reves sheet was traced from the original charcoal version onto a very large sheet of tracing paper, which was probably chosen to match the dimensions of the Chicago painting.These immense bathers have an undeniable physicality. Even the hair of the central figure seems to have weight as it flows over her head across the front of her body. Degas's inclusion of a cow in a nearby field can be read in two ways- as a pictorial indicator of the rusticity of the subject or as an unsubtle analogy between woman and barnyard beast. In spite of Degas's well-known misogynist tendencies, the latter reading seems farfetched, and the more likely interpretation of this scene, and of other outdoor nudes by Degas, is that it was intended to be a rural counter to the bathers in interior settings for which the artist was already famous. Few pastels from Degas's late career are as magisterial, ambitious, and powerful as the Reves "Bathers.""Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 119
Context
false
Related Image Identifier Link:
DMA_.1985_R_28.tif
ril
DMA_.1985_R_28.tif
Related Image Identifier Link
false