Thursday, April 17, 2014
By DANIEL KANY
"Edgar Degas: The Private Impressionist" features a large number of canceled prints, many student drawings (he studied under Ingres), and a large and interesting group of works by his contemporaries.
Works in “Edgar Degas: The Private Impressionist” include “Le Lecon de Danse (The Dancing Lesson),” pastel on monoprint on paper, circa 1877 ...
... “Danseuse Assise (Seated Dancer),” pastel on joined paper mounted on board, 1894 ...
"EDGAR DEGAS: THE PRIVATE IMPRESSIONIST"
WHEN: Through May 28
WHERE: Portland Museum of Art, 7 Congress Square
HOURS: 10 a.m. to 5 p.m. Tuesday to Thursday and Saturday-Sunday; 10 a.m. to 9 p.m. Friday. Closed on March 30. COST: $12; $10 for seniors and students with ID; $6 for ages 13 to 17; free for ages 12 and younger; free for all after 5 p.m. Fridays.
INFO: 775-6148; portlandmuseum.org
While the show is supposed to be the Robert Flynn Johnson collection punctuated with a few choice pieces from the PMA, the additions generally eclipse the Johnson collection. This is not to disparage Johnson's collected works, because Degas (1834-1917) at his worst is still brilliant.
While the catalog is a beautiful object fit for a sophisticated collector like Degas (who owned 1800 works by Daumier, for example), the essays are basically a trough of self-congratulatory drivel. And the unnecessarily defensive tone about the relative weakness of the collection also feels a bit nepotistic.
"The Private Impressionist" offers an unusual view of Degas. It is tempered by the taste of a single collector and features many minor and rarely published works which, together, make for a worthy perspective on the great artist.
Degas looms like a giant. But always, it seems, at a distance. He was daunting to his contemporaries, and he is daunting to current scholars and critics. The critic I most admire, Peter Schjeldahl of The New Yorker, wrote this past year that he has "never understood" Degas.
Why is Degas so elusive when he is so well known and popular? For starters, people have tried to read too much into his personal narrative. In brief, he was born into a wealthy aristocratic family, changed his name, was a founding member of the Impressionist group, was a dedicated bachelor who spent a great deal of time in brothels not having sex, and developed a reputation as a misanthropic hermit who lived the last few years of his life largely in solitude. He was a grumpy genius with a notoriously cruel wit.
Maybe it's just that Degas' own situation allowed him to see life as an urbane collection of visible conventions enforced by the status quo. I think he saw culture and public life as theater -- well choreographed and fully scripted. If Degas were gay, in other words, that wouldn't explain his work, but rather how he came to see modern life as a pageant of arbitrary and expected conventions.
The two most important purveyors of modernism were Degas and his old friend, Edouard Manet. Manet's masterpiece "Luncheon on the Grass," for example, featured two men (portraits), a naked woman (a nude) and their still-life picnic, all set in a landscape with a woman bathing behind them (pastoral). While it's weird to us, it would have been even weirder to the audience of 150 years ago, because they would have immediately recognized what Manet was playing at.
Degas is far more subtle. He exposed the visual conventions of everyday life in cultural terms that transgressed boundaries such as theater, public space, private life or even the boudoir. Many prints in "The Private Impressionist" focus on the theatrical conventions of brothels as prostitutes, making their intentions (and goods) clear to potential patrons.
Degas shows us scenes of well-scripted public entertainment: Jockeys, singers, dancers and artists who are no longer people but something closer to rhetorical figures.
His ballet dancers, for example, are in legible poses -- such as his bronze "Fourth position in front on the left leg." While it is one of the most exciting pieces in the show, we should remember only one of Degas' sculptures was cast in his lifetime. He made hundreds of such clay figures to capture poses so that he could see them from any angle -- like a three-dimensional dictionary.
How Degas used such imagery is illustrated in works like the great pastel "Dancing Lesson." A ballerina dances in the center space while another stretches behind her, and the choreographer stands to her left with the very light of the room emanating from him. Degas echoes himself in the choreographer -- two masters fluent in the language of the body.
(Continued on page 2)
click image to enlarge
... and “Edgar Degas: Self Portrait,” etching and drypoint from canceled plate, 1857.