Abstract
This paper compares a painting by Pre-Raphaelite British artist Burne-Jones with an important work by Realist, Edgar Degas. Both paintings appeared in 1860-1970 decade and have something important to say about that era and the two painters.

Abstract
This paper uses the strategies that are part of critiquing in the book "Humanities through the Arts" by F. David Martin and Lee Jacobus. Paris). The author praises "The Peale Family" painted by Charles Wilson Peale, but "The Bellini Family" painted by Edgar Degas, although beautiful in its own way, is subjected to conflicting criticism. The paper explains that, by observing the line, color, and artistic agenda of each of these painters, we can critique them along the guidelines offered by Martin in his book.

Abstract
This paper examines the art of Edgar Degas, a French Impressionist painter noted most for his ability to portray motion and spontaneity in his work. It discusses how one of his favorite subjects to paint was dance and how his obsession with the female form drove him to become more skilled at painting dancing woman than anyone before or since. It looks at how none of his paintings were ever commissioned and he preferred to paint women going through the moments of daily life, unaware of the candid insights of voyeuristic beauty to be gained from their skilled observation.

From the Paper
"Degas has captured young ballerinas of the Paris opera house at their most natural, when they are practicing unselfconsciously behind the scenes, not performing for the public. The ballet dancers resemble a sequence in a movie, all of the same fascinating for their totally innovating cuts, for the decentralized pagination, for the unusual angularity: in this sense, it is evident the influence from the orientalism, highly fashionable at his time, and from Japanese prints, of which Degas was a fond collector. "

Tags:ballet, dancers, female, observation

Abstract
This paper explains that, although Deges was connected with the impressionists, he never was fascinated like others were by the influence of natural light and thus did most of his work inside his studio only. The paper continues that his paintings depicted ballet, horse racing, the theater and circuses, which gave the idea that his work stemmed from the humanistic experience. The author points out that Degas' favorite subjects were scenes from the world of entertainment, the daily life of women, ballet dancers, horse races and young ballerinas.

From the Paper
"Degas was captivated and influenced by a study of Japanese prints of which style appeared to be in his later work. He drew on the Japanese idea of asymmetrical design as an object to set the subject to the side of a painting. For example, one of his paintings made in 1865, depicted a Woman with Chrysanthemums (exhibited at Metropolitan Museum of Art, New York City) where the female subject is pushed into one side by a bouquet of flowers."

Tags:ballet, women, studio, masters, horseracing

Abstract
In this article, the writer looks at the concept of hyper-sensuality as it is portrayed in the artistic work of Edgar Degas. The writer refers to Degas' famous painting 'Le Etoile' and describes a variety of possible responses from the audience. As this essay argues, the erotics of hyper-sensuality are central to an appreciation of Degas' achievement in this work.

From the Paper
"The creation of hyper-sensuality in artistic media can take many forms depending upon the medium and the interests of the artist. In the case of Edgar Degas' celebrated painting L'Etoile or "Star" (1876-1877) the artist stimulates an array of multiple sensual responses ranging from the primary visual nature of the image, to its auditory musical resonances, to the intense eroticism of the female form for its presumably male audience."

Tags:art, history, degas

Abstract
This paper describes the similarities in life and artistic works of artists Paul Gaugin and Edgar Degas. First, a brief biography of Gauguin's life is presented, telling of his travels, their influence on his work and his personal style. The paper also discusses the impact of Gaugin on later artistic movements. Next, the paper gives a biographical sketch of Degas and his career as an artist. It describes in detail the various media that Degas used and the forms he created, including painting, sculpture and photography. Additionally, the paper points out that although Degas was referred to as an impressionist, his style differed significantly from this school. The paper concludes by noting Degas' techniques in painting and sculpture.

From the Paper
"Paul Gauguin was born in Paris, but was reared around the globe. He spent parts of his childhood in Lima, Peru, and Orleans, France. Upon reaching adulthood, he became a member of the merchant marine and later the navy, so that travel was a substantial part of his adult life, and, at one time settled in Copenhagen, Denmark. This travel became a critical part of Gauguin's success as an artist, as he is probably best known for the paintings he created depicting life in Tahiti and Polynesia. These paintings are characterized by a bold use of color. In fact, his paintings are believed to have led to the Synthesist style of modern art and primitivism. Gauguin was also known for his use of wood as a medium. He worked in wood engravings and in woodcuts as art forms. These forms cannot be separated from Gauguin's experience in Polynesia and Tahiti, as they reflected folk art forms being used in those areas."

Tags:composition, line, use of light, oil paints, pastels

Abstract
The writer argues that, because of Degas' upbringing in a family attempting to appear as nobility, he became interested in "class." Commentary on class structure was a deeply ingrained part of the art world at the time that Degas was in the forefront of the field.

From the Paper
"The later work of Degas began to concentrate on women in the bath, either actually washing, or getting in and out of various tubs. This was a focus on the female body in its most pure form. The fascination he had always shown with women was now given free reign, without clothing or background to complicate his work. It is interesting, though, to note that his interest in class, as well as gender, was still represented. The bathing woman has been separated from most of the social and cultural cues that give the viewer information as to her background. This is another way that Degas demonstrated that his interest in the female form cut across class boundaries."

Tags:society, structure, nobility, art, painting

From the Paper
"Mary Cassatt is one of the less well-known of the Impressionist painters. Edgar Degas, her mentor, was one of the most important of the artists who participated in the Impressionist movement and who exhibited his paintings at Impressionist exhibitions. In many ways both were very different from other artists identifying themselves with this movement. Degas was one of the most helpful to other painters, including Cassatt, whom he also painted. The careers of these two painters are each somewhat out of the ordinary for the time and reflect different experiences, in part with differences based on gender.
There were four women classified as Impressionists--Berthe Morisot, Marie Bracquemond, Eva Gonzales, and Mary Cassatt. These four were very different artists, each of whom related to the artistic and political debates of her time in her own..."

Abstract
This paper discusses a comment by Honore de Mallarme, a French poet, that was aimed at Edgar Degas, a French artist. The paper first discusses how art relates to poetry and how Degas' principles relate to those of Mallarme. The paper then discusses why Mallarme made his comment and examines how poetry can be formed out of words, in order to see what effects and achievements this produces.

From the Paper
"Whilst this may seem in opposition to the principle that on fait des sonnets avec des mots, what Mallarme means here verse is should be implicitly suggestive rather than explicitly descriptive. His intention in writing Herodiade was to convey a sensation of reflexive beauty. Like some of the poems we have looked at already, the poem is somewhat about itself - the power and beauty of poetic language free from representational function. It is evident how Mallarme invente une langue here - Aboli and Une Aurore a presents to us the capital 'A' twice, the symbol of the beginning of a new alphabet and a new language, which is not just any language but one that is likened to a dawn - Une Aurore, the or in which mirrors nu, pure and gold poetry."

Tags:language, genre, medium, sonnet

Abstract
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."

Tags:aesthetic, tactile, ballet