"Dancers in Pink"

Paper Summary:

This paper analyzes the painting "Dancers in Pink," painted by Edgar Degas in 1878. The paper describes the compositional structure of the painting and how it appeals aesthetically to the viewer. The paper then goes on to discuss the synthesis between form and color in the entire work and how they enhance the overall painting. The paper concludes by describing the use of paint and the technique of paint application, as well as Degas' choice of hues and tones.

From the Paper:

"This experimentation with painting technique can be seen in the different method of paint application work. Some areas in the dresses of the two main figures are thinly painted, possibly diluted with turpentine, while others seem to be more impasto-like in their quality. It is the use of washes over thick paint that, especially in the skin tones, provides the feeling of tactile sensuality. It seems as if the pink and orange has been painted over an underlayer of flesh tones, which can just be seen beneath the rich folds of the dresses. The brush strokes also vary throughout the painting, with smoother and crisper brushwork in the dresses and figures and rougher, more 'sketchy' brushwork in the background and in the smaller figures."

Sample of Sources Used:

• Dancers in Pink. Retrieved April 20, 2006, from http://www.african-american-art-work.com/Dancers-in-Pink.html
• Embodying The Real. Retrieved April 23, 2006, from http://www.artgallery.nsw.gov.au/staff/tonybond/exhibitions/1997/agnsw_body
• Fosca, F. (1954). Degas (Emmons, J., Trans.). Geneva: Albert Skira. Retrieved April 24, 2006, from Questia database: http://www.questia.com/PM.qst?a=o&d=65466318
• Oceans Bridge Most Popular. Retrieved April 23, 2006, from http://www.oceansbridge.com/art/customer/pages.php?pageid=101
• Paintings. Retrieved April 23, 2006, from http://www.hillstead.org/collection/paint_degas.html

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