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印象派及現代藝術日拍

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Edgar Degas
1834 - 1917年
FILLETTE PORTANT DES FLEURS DANS SON TABLIER
stamped Degas (lower right)
oil on canvas
73.3 by 55.7cm., 28 7/8 by 22in.
Painted circa 1860-62.
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來源

Atelier Degas (sale: Galeries Georges Petit, Paris, 1ere vente, 6th May 1918, no 94)
Max Dearly, Paris
Gutzwiller Collection (sale: Sotheby’s, London, 24th June 1996, lot 1)
Private Collection, Switzerland (acquired at the above sale)
Thence by descent to the present owner

展覽

Paris, Galerie Schmit, Degas, 1975, p. 9, no. 4, illustrated in colour in the catalogue

出版

Paul-Andrè Lemoisne, Degas et son œuvre, Paris, 1946, vol. II, p. 42, no 81, illustrated
Jacques Lassaigne & Fiorella Minervino, Degas, Paris, 1990, p. 88, no. 52, illustrated

相關資料

Fillette portant des fleurs dans son tablier, painted circa 1860-62 is an endearing work based on Sir Thomas Lawrence’s celebrated portrait of Louisa Georgina Murray (1822-1891), the god-daughter of the Duke of Welllington. Lawrence’s original, painted between 1825 and 1827 hangs in the Green Room at Kenwood House in London. 

This painting dates from a period in which Degas created numerous works based on well-known paintings; this personal exploration of the past, whose value had already been evident earlier to independent artists like Delacroix, was most characteristic of the 1860s. In fact, Degas is reported to have met Manet for the first time when both were etching copies of Velazquez’s Infanta Margarita in 1860. The subject of the present work, namely that of a delicate postured girl, dressed in a ballet costume, anticipates a theme which came to dominate a large proportion of Degas’ œuvre. A product of Degas’ desire to artistically develop his skill by learning through looking to the past, Fillette portant des fleurs dans son tablier suggests the colour and luminosity of Lawrence’s original yet reflects Degas’s innate virtuosity in imbuing the character of the individual. The majority of the other works from the series during this time are of historical or biblical subjects, inspired by artists such as Titian, Bellini, Poussin and Mantenga and while Degas acknowledged the importance of history painting as the apex of artistic achievement, this work epitomises the more relaxed, contemporary subject matter which profoundly distinguishes Degas’ artistic corpus. This work has been part of the eminent Gutzwiller Collection.

印象派及現代藝術日拍

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倫敦