Frases de Edgar Degas
Data de nascimento: 19. Julho 1834
Data de falecimento: 27. Setembro 1917
Edgar Hilaire Germain Degas foi um pintor, gravurista, escultor e fotógrafo francês. É conhecido sobretudo pela sua visão particular no mundo do ballet, sabendo captar os mais belos e súbteis cenários. É ainda reconhecido pelos seus célebres pastéis e como um dos fundadores do impressionismo. Muitos dos seus trabalhos conservam-se hoje no Museu de Orsay, na cidade de Paris, onde o artista nasceu e faleceu. Se o quisermos classificar na história da arte, a maioria das obras consagradas de Degas ligam-se ao movimento impressionista formado na França nos fins do século XIX, em reação à pintura académica da época. Com ele estavam Claude Monet, Paul Cézanne, August Renoir, Alfred Sisley, Mary Cassatt, Berthe Morisot e Camille Pissarro, que, cansados de serem recusados nas exposições oficiais, se associaram e criaram a sua própria escola para poderem apresentar e ensinar as sua obras ao público.
A arte impressionista é descrita frequentemente pelos efeitos de luz ao ar livre. Estas características não são, no entanto, aplicáveis a Degas: mesmo tendo sido um dos principais animadores das exposições impressionistas, não se enquadra no movimento que, em nome da liberdade de pintar, caracteriza o grupo. Ao ar livre ele prefere, e de longe, "o que nós só vemos na nossa memória". Dirigindo-se a um pintor ele diz: Para vós, é necessário a vida natural, para mim, a vida fictícia. Se Degas faz, oficialmente, parte dos impressionistas, ele não se identifica com eles nas características mais conhecidas. A sua situação de exceção não escapa aos críticos da época, frequentemente desestabilizados pelo seu vanguardismo. Vários dos seus quadros semearam a controvérsia, e ainda hoje a obra de Degas é objeto de numerosos debates pelos historiadores de arte. Edgar Degas repousa no túmulo da família no cemitério de Montmartre em Paris.
Citações Edgar Degas
„Oh! Women can never forgive me. They hate me, they can feel that I ‘m disarming them. I show them without their coquetry, in the states of animals cleaning themselves… …I'm sure of it; they see me as the enemy. Fortunately, since if they did like me, that would be the end of me.“
In Degas by Himself, Drawings, Paintings, Writings, ed. Richard Kendall 2000, p. 299
Quoted in Artists on Art: From the XIV to the XX Century, ed. Robert Goldwater (Pantheon, 1945)
„Apart from my heart, I feel everything grows old in me. Even my heart has something artificial. It has been sewn by the dancers in a soft, pink satin purse like their shoes.“
Quote in Degas' letter to the sculptor Paul-Albert Bartolomé, January 1886; as cited in 'Performing Fine Arts: Dance as a Source of Inspiration in Impressionism, by Johannis Tsoumas http://rupkatha.com/dance-in-impressionism/
1876 - 1895
„A painting requires a little mystery, some vagueness, and some fantasy. When you always make your meaning perfectly plain you end up boring people.“
quote from Georges Jeanniot, in Souvenirs sur Degas (Memories of Degas, 1933)
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„Women can never forgive me; they hate me, they feel I am disarming them. I show them without their coquetry.“
Quoted by Julian Barnes, 'The Artist As Voyeur' (1996), from The Grove Book of Art Writing, ed. Martin Gayford and Karen Wright (Grove Press, 2000)
„I really have some luggage in my head. If only there were insurance companies for that as there are for so many things here, there's a bale I should insure at once.“
J'ai vraiment, un vrai bagage dans la tête. S'il y avait pour cela, comme il y a partout ici, des compagnies d'assurance, voilà un ballot je ferais assurer de suite.
Quote from a letter to James Tissot, (New Orleans, 1873), as cited in Marilyn Brown, Degas and the Business of Art: A Cotton Office in New Orleans (Penn State Press, 1994)
1855 - 1875
„pinkish and bluish draperies on neutral grey grounds and black cypresses…… The red of Jeptha's dress…… some reddish brown, some slightly pinkish…… Graduated blue sky…… the ground at the front a grey violet shadow… Look for some turquoise in the blue.(Degas' working note about choosing colors for his future painting 'The Daughter of Jeptha')“
Quote from Degas' working notes; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 34
„We also consider that Miss Berthe Morisot's [woman painter in French Impressionism who got later married with a brother of Eduard Manet] name and talent are too important to us to do without. [Degas is referring to her participation in the first Impressionist's show he was preparing, then; he was in strong opposition to Eduard Manet who wanted to exclude Berthe Morisot)“
Quote from Degas' letter to Cornelie Morisot (mother of Berthe Morisot), Spring 1873; as cited in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 119
1855 - 1875
„A painting is above all a product of the artist's imagination, it must never be a copy. If, at a later stage, he wants to add two or three touches from nature, of course it doesn't spoil anything.“
Une peinture, c'est d'abord un produit de l'imagination de l'artiste, ce ne doit jamais être une copie. Si, ensuite, on peut y ajouter deux ou trois accents de nature, evidemment ca ne fait pas de mal.
Quoted by Maurice Sérullaz, L'univers de Degas (H. Scrépel, 1979), p. 13
„.. women… …their way of observing, combining, sensing the way they dress. They compare a thousand of more visible things with one another than a man does.“
Quote from The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 53
„ladies in muslin draped on porches at the fronts of their little houses.... shops bursting with fruit, and the contrast between the lively hum and the bustle of the offices with the immense black animal force... The black world I have not the time to explore; there are some real gifts of colour and drawing in these forests of ebony. It will seem amazing to live among white people when I get back to Paris. I love silhouettes so much, and these silhouettes walk.“
quote on his journey through America during 1872
Quote in Degas' letter to his friend Tissot, Lousiana, America 1872; as cited in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 113-114
1855 - 1875
„Draw all kind of everyday object placed, in such a way that they have in them the life of the man or woman – corsets that have just been removed, for example, and which retain the form of the body. Do a series in aquatint on mourning, different blacks – black veils of deep mourning floating on the face – black gloves – mourning carriages, undertaker’s vehicles – carriages like Venetian gondolas. On smoke – smoker’s smoke, pipes, cigarettes, cigars – smoke from locomotives, from tall factory chimneys, from steam boats, etc. On evening – infinite variety of subjects in cafes, different tones of glass robes reflected in the mirrors. On bakery, bread. Series of baker's boys, seen in the cellar itself or through the basement windows from the street – backs the colour of the pink flour – beautiful curves of dough – still-life's of different breads, large, oval, long, round, etc. Studies in color of the yellows, pinks, grays, whites of bread…… Neither monuments nor houses have ever been done from below, close up as they appear when you walk down the street. [a working note in which Degas planned series of views of modern Paris, the same time when he sketched the backstreet brothels, making graphic unflinching and even his realistic 'pornographic' sketches he called his 'glimpses through the keyhole', in which he also experimented with perspectives]“
Quote from Degas' Notebooks; Clarendon Press, Oxford 1976, nos 30 & 34 circa 1877; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 182
„You have to have a high conception, not of what you are doing, but of what you may do one day: without that, there's no point in working.“
Il faut avoir une haute idée, non pas de ce qu'on fait, mais de ce qu'on pourra faire un jour; sans quoi ce n'est pas la peine de travailler.
"Mad About Drawing" (p. 64)