Edgar Degas’s “The Dance Class” is a seminal work, deeply embedded in the history of art and celebrated as a remarkable example of dance artwork. This iconic painting, housed at The Metropolitan Museum of Art, has captivated art enthusiasts and historians for generations, offering a glimpse into the world of 19th-century ballet and solidifying Degas’s reputation as a master of depicting movement and atmosphere in his Artwork Of Dance.
Historical records, including letters from Degas himself and contemporary reviews, provide valuable insights into the creation and reception of “The Dance Class.” Correspondence between Degas and Charles Deschamps in late 1873 and early 1874 alludes to a painting commissioned by the opera singer Jean-Baptiste Faure, strongly believed to be this very artwork. Degas’s letters detail his progress and the financial transactions, revealing that Faure paid five thousand francs for a painting referred to as “Examen de danse,” further solidifying the connection to The Met’s picture. By March 1874, the painting was completed and delivered, marking a significant moment in Degas’s career and the history of dance artwork.
Contemporary accounts from the time of the Impressionist exhibitions offer further validation. Philippe Burty, in an 1876 review, mentioned “the green-room of the Opera” among Degas’s exhibited works, and Pierre Dax also referenced Degas’s depictions of the Opera in his writings. These early mentions suggest that “The Dance Class” was indeed exhibited and recognized as a notable representation of the ballet world within Degas’s broader oeuvre of dance artwork.
Over time, “The Dance Class” has been subject to extensive art historical analysis, solidifying its place as a cornerstone of 19th-century art and a prime example of artwork of dance. Early 20th-century scholars like Georges Grappe and P.-A Lemoisne began cataloging and dating Degas’s works, with Lemoisne dating “The Dance Class” to 1875 based on studies of the ballet master figure, whom he identified as Plucque. Julius Meier-Graefe, writing in 1920, offered a different perspective, dating the artwork earlier, to 1872–73, and even comparing Degas’s meticulous detail to Meissonier, emphasizing the artist’s dedication to capturing the nuances of the dance world in his artwork of dance.
The painting’s journey to The Metropolitan Museum of Art is also a fascinating part of its history. Louisine W. Havemeyer, a prominent collector, recounted how her husband encouraged Colonel Payne to acquire “The Dance Class,” recognizing its exceptional quality. This anecdote highlights the early appreciation for the painting among discerning collectors and its growing recognition as a significant artwork of dance.
Scholarly debate surrounding “The Dance Class” extends to its relationship with another similar painting by Degas, often referred to as the Orsay version. Many scholars, including Paul Jamot and P[aul]. A[ndré]. Lemoisne, have considered The Met’s painting a replica or variant of the Orsay picture. However, George T. M. Shackelford argues that The Met’s version might be a later refinement, noting the lack of revisions (pentimenti) compared to the Orsay painting. He suggests Degas may have intentionally altered the composition to emphasize a forward-facing dancer, highlighting the artist’s continuous exploration and refinement of his dance artwork themes.
Technical analysis and historical context further enrich our understanding of “The Dance Class” as a significant artwork of dance. Radiographs have revealed revisions beneath the surface, demonstrating Degas’s meticulous process and his dedication to achieving compositional perfection in his artwork. The setting of the painting has been tentatively identified as a room in the opera house, adding to the authenticity and immersive quality of Degas’s depiction of the ballet environment. Furthermore, scholars like Theodore Reff have connected “The Dance Class” to Degas’s preparations for Impressionist exhibitions, situating it within the broader artistic movements of the time.
The enduring appeal of “The Dance Class” lies in its ability to capture not just the visual spectacle of dance but also the atmosphere and subtle psychological dynamics within the dance studio. Linda Nochlin suggests that the presence of older women in the background may allude to the social complexities of the ballet world, adding layers of interpretation to Degas’s artwork of dance. Richard Thomson, however, argues against purely negative interpretations, suggesting their presence is more about chaperonage than impropriety, highlighting the ongoing scholarly conversation surrounding the social implications within Degas’s dance scenes.
In conclusion, Edgar Degas’s “The Dance Class” stands as a monumental achievement in the representation of dance in art. Through meticulous brushwork, innovative composition, and insightful observation, Degas created not just a painting, but a window into the world of 19th-century ballet. Its rich history, from its commission by Faure to its current prominent position in The Metropolitan Museum of Art, along with the ongoing scholarly discourse surrounding it, solidifies its status as an essential artwork of dance and a testament to Degas’s mastery. “The Dance Class” continues to inspire and inform, offering invaluable insights into the intersection of art and dance and cementing Degas’s legacy as a leading figure in the depiction of human movement and cultural life in artwork of dance.
