Aisle. 1884 Musée d’Orsay, Paris.
… The scene is visible straight from the hands of the ladies sitting in the box, or little over the top – just from the point of the Paris Opera, for which the artist was twenty-subscription.
Ballet Star. 1876-1878 gg. Musée d’Orsay, Paris.
Ballet Star. 1876-1878 gg. Musée d’Orsay, Paris.
Sometimes, in the corner of the painting are part of the female figures, as if an inexperienced photographer snapped a bad frame.
Ballet School. Around 1879-1880 years. Corcoran Gallery of Art, Washington
But in the lines and the author of these positions as it were random images, entire life struggling with a gradually worsening vision and own perfectionism (which many of his friends took over a bad temper), I was accurate and verified. Each figure, each contour of the shoulder and elbow at his works were born of hundreds of sketches and took final shape, the artist knew – or can not.

And yet – the very art of ballet to the time of Degas gradually acquires the features familiar to us. The machine, dance class and Exercise – not so endless and complex acrobatic, which require a modern setting, but still. And, of course, the dancer – meschanochki with Parisian streets, sometimes not so hot either beauty or article that the scene became queens.

Needless to say, that their models Degas spared. “In the frame” him and then got it someone’s broad back, it is not elegantly twisted legs in pointes, facial expressions, far from sublime, non-classical dancers profiles.

dance lessons. 1873-1875 gg. Musée d’Orsay, Paris.
On the stage the whole plainness and simplicity of a little muted ornate costumes, particularly exposed to the light and noble poses.
Blue Dancers. 1897 Pushkin Museum. Pushkin, Moscow
But being – for the role – elegant and beautiful, even in the later paintings of the artist, where his vision problems are particularly evident, do not become a dancer by Degas or incorporeal, nor ephemeral. And here, perhaps, lies the important thing is what the artist broke with classical ballet and at the same time it is sometimes amazing to converge.

The fact that, in essence, a classic ballet more impersonal and asexual. On the stage there comes not a dancer, a dancer in the role. And if in a folk dance, such as flamenco, – before us is a woman’s personality, her passion, and her destiny, the “Dying Swan” we do not see a woman and a bird.

Tummy years ballerina artificially sharpened so that the beauty of the human body goes into her dance with an almost inhuman manner step, stretching and flexibility. Perhaps, you can watch the dancers, as antique statues – perfect specimens of the human body, abstract examples of beauty and plastic, which never existed in reality.

But just that – a chaste and detached – Degas was able to look at their models, even off stage.
Bathroom. 1885-1886 gg. Museum Hillsteda, Famington (Connecticut).