Degas by Linda. Bolton

By Linda. Bolton

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5cni Oil on canvas National Gallery, London made numerous Degas 1 jala, studies of Miss describes the skilled performance of circus whose sen- acrobats, demonstrates the inter-dependence a mulatto circus artiste were sational feats when she and her troupe performed in Paris at the Cirque Fernando Known Femme both frequently January 1879. in way of art and literature and the entiiusiastically received in which made use of the same subject matter. Degas, however, was less interested in Canon," she held a recreating the atmosphere of places of pop- cannon on a chain between her teeth while hanging by her legs from a trapeze.

4 Actual size detail Degas was interested in the counterbalance of pairs of figures, and here the two overlapping jockeys create a rhythmic directional thrust which lightens the composition at the right of the on the man's hat are the result of picture. 'I'he cracks overpainting before the undcrlavcr was 48 fullv drv. 5cni Oil on canvas National Gallery, London made numerous Degas 1 jala, studies of Miss describes the skilled performance of circus whose sen- acrobats, demonstrates the inter-dependence a mulatto circus artiste were sational feats when she and her troupe performed in Paris at the Cirque Fernando Known Femme both frequently January 1879.

Monde, and in work of the demi1879 put out in serial form his this The vertical slicing of the picture by the provides a dramatic frag- novel Nana, a stor\ about a former laundress pillars of the cafe turned musical performer-cimi-actress and mentation of the picture surface, an approp- However, although Degas' pain- prostitute. tings have been described he was far from a literary painter, irritated by dinner-party art. art, we riately startling "shocking" terms, and was of casually observed street -walkers conversing together, and the way figures and chairs conversations on soon have compositional device for the subject-matter at the edges of fin- the picture have been cropped effectively with aesthetics.

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