Degas’ emphasis on the body owed much to his classical training. Born into a wealthy Parisian banking family, he studied in the studio tips photograpy of Louis Lamothe, a pupil of Ingres, and then at the École des Beaux-Arts where early works, such as Young Spartans Exercising (c. 1860) were very much in the classical tradition of the Academy. By 1862, he had turned away from Classical subject matter towards the contemporary world of the racecourse, café, circus and ballet. While other Impressionists were working to capture the intricacies of light, Degas was attempting to depict a different kind of animated moment — a casual, voyeuristic approach that utilised strange perspectives and a radical, photographic cropping of the image, beautifully exampled in works such as The Orchestra at the Opera (c.1870).
Between 1874 and 1886 Degas was a normal contributor to Impressionist kelompok exhibitions, and from 1880 his work became more and more intensely focused on the female body. His obsession with the ballet grew over the 1870s and ’80s, and many of his greatest works depict either the workaday world of the dance studio, such as The Dance Class (1874), or a world ethereally illuminated by the footlights, such as The Ballet Scene from Meyerbeer’s Opera ‘Robert le Diable’ (1876).
By the 1880s Degas’ eyesight was failing and he began to focus almost exclusively on dancers and bathing women. Increasingly he turned to sculpture and pastel, with works such as Little Dancer of Fourteen Years (c.1881) and After the Bath (1896). Over the course of his life, he produced some 1,500 works connected to the ballet. He became increasingly reclusive and was almost blind when he died in 1917, aged 83.
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