Edgar Degas

Sale: Galerie Manzi-Joyant, Paris, Vente Atelier Degas, Estampes par Edgar Degas, November 22-23, 1918, lot 201, unsold
Sale: Lair-Dubreuil et Petit, Paris, Vente Succession Degas, March 17, 1928, lot 1
David David-Weill, Paris (purchased at the above sale and sold: Paris, Hôtel Drouot, May 26, 1971, lot 64)
Acquired at the above sale

During the late 19th century, the Opéra proved to be a supremely popular pastime for Parisian society. However, it was not only what happened on stage that interested Degas, but also what occurred when the curtain closed. As Françoise Cachin suggests, "It is not at all surprising that he would want to base the illustrations on a man who regularly frequents the Opera foyer, just like himself along with his close friend Ludovic Halévy." (Jean Adhémar & Françoise Cachin, Edgar Degas, gravures et monotypes, Paris, 1973, p. xxxi). The present work is a monotype created for the purpose of illustrating a special edition of two satirical books written by Halévy, both set backstage at the Opera, Monsieur et Madame Cardinal, written in 1872 and Les Petites Cardinal of 1880. It seems likely that the writer was not fully satisfied with these illustrations since they were not used in the final edition, and remained instead with the artist himself.

The basis of the present work is the monotype, a technique in which Degas excelled. A monotype is a print, made in a single edition: using black or brown ink, the artist paints directly onto a clean plaque, on to which is pressed a sheet of paper resulting in the transfer of the image. In some cases, if circumstances allow, a second print is produced, lighter and more subtle than the first. The artist may then choose to go over it, highlighting parts of the image.

In this scene, the viewer is able to see only a section of the dancer's voluminous skirt, while Ludovic is frozen in his movement heading backstage. Certain critics have compared this monotype technique to instant photography. If so, the particular composition and framing of the individual prints might be likened to still frames in a movie sequence.

Although these monotypes were featured in a 1918 sale of Degas's prints, they were unsold, before being auctioned again by the artist's heirs in 1928. The whole ensemble was bought by a group of amateurs and bibliophiles, amongst them the art historian Marcel Guérin, the editor Auguste Blaizot, and the famous collector David David-Weill. They divided them between themselves and granted the rights of reproduction to the publisher and book dealer Blaizot, who finally put them to their originally intended use after nearly 60 years in hiding.