1878 The Amateurs (Paul Lafond and Alhonse Cherfils Examening a Painting)
1878 The Dance Studio
1878 The Star (Dancer on Stage)
舞台上的舞女
舞台上的舞女，不是名演员
也不是名媛，而是普通演员
以她们舞姿为媒介
追寻光与色的表现
通过对舞女的造型描绘
表现出强烈的灯光反射效果
以室内灯光为描绘对象
成为印象派绘画中最脍炙人口的佳作
舞台上的布景与绿色的地毯
衬托着光照下的舞女
显得虚无飘渺、绚丽变幻
成为一个美的世界
1878 Singer with a glove
咖啡馆音乐会女歌手
画中抓住了模特儿一瞬间的姿势
张着口，带着手套的手迎面举起
这个极为自然的姿势
因色彩的运用而更显份量
橘红绿黄的落地彩饰
将手套与毛皮装饰的黑色
衬托得格外明显
1879
1879 Ballet Scene
1879 Dancer Leaving Her Dressing Room
1879 Dancer resting
1879 Dancer with a Fan
1879 Dancers Resting
1879 Diego Martelli
1879 Edmond Duranty
1879 Friends at the Theatre, Ludovic Halevy and Albert Cave
1879 Jockeys before the Start with Flagpoll
1879 On Stage
1879 Portrait after a Costume Ball (Portrait of Madame Dietz Monnin)
1879 Seated Dancer
1879 The Dance Lesson
1879 The Green Dancer
1879 The Step with Battement
1879 Three Ballet Dancers
1879 Two Ballet Dancers
1879 戴面罩入场的舞者
The Entrance of the Masked Dancers
1879 费尔南德马戏团的拉拉小姐
Miss La La at the Cirque Fernando
1879 Portraits at the Stock Exchange
证券所人像
证券所是进行金融活动和证券交易的场所
金融家 欧内斯特·梅和博拉特 焦躁不安地
读着一个经纪人递给他的一张股市行情单
经纪人的头上也戴着一顶礼帽
礼帽是商人象征性的服装细节
画上行人很多
表现人们悄悄谈着股市消息的生动情景
画像似乎草率而成
大笔一挥很快就画成了深色服装
德加经常忽略细部
用他喜欢的棕、浅灰、黑色来达到色彩的和谐
笔法道劲有力，但不均匀
给人一种未完成的感觉
构图的奇特更加深了这种印象
1879
1880 At the Ballet
1880 Ballet Class, the Dance Hall
1880 Dancer Adjusting Her Slipper
1880 Dancer at the Barre
1880 Dancer in Her Dressing Room
1880 Lowering the Curtain
1880 Mary Cassatt at the Louvre
1880 Portrait of Mary Cassatt
1880 The Box at the Opera
1880 The Curtain
1880 On the Stage
在舞台上
德加的后期作品愈来愈粗犷
常使用一生非比寻常的手法
利用缩短线条的透视比例勾勒全画
让我们觉得位於前景的人物
像要舞出画外似的
以舞台或地板的线条来处理并控制画面
粉彩画的技法，使德加得以
将芭蕾舞女郎舞裙的轻盈和优美舞姿
表现得分外飘逸、柔和、且玲珑剔透
传达出芭蕾舞的情调与活力
这种高度的柔和与剔透感
使他在技法上更接近印象派主流
印象派的画家
还没有任何人像他如此醉心于舞蹈的
对角线将此画平分为两半
右侧的画面上
隐约可见前景中一位舞女的长发与后腿
另外有二个人处於“对应位置”上
左侧画面被一整片的舞台所占用
一片绿意盎然的地板
似乎正在等待从舞台右边迎面舞来的佳人
因而使整个舞台，暴露在夺目的光彩之中
1880 The Dancing Examination
1880 Three Dancers before Exercise
1880 Three Dancers in an Exercise Hall
1880 Visit to a Museum
1880 The Racecourse, Amateur Jockeys
赛马会上
德加喜欢画马，他所擅长描绘的动态手法
使他成画家当中首先运用电影技巧的先驱
他的构图手法尤其与众不同
往往是突如其来地剪裁画面
然后再一一安排画中
各个人物、空间、景物之间的联系
先将取自各个角度的视点串联起来
呈现“之”字形，藉以灵活运用空间
然后再将各种动态景物进行分解
都是电影拍摄时具备的要素之一
这些技巧，在德加的赛马作品中
都可以见到
为了表现马匹腿部的动作
他往往采用横幅式的结构
像电影中的连续镜头一样
喜好引诱赏画人进入画境
因此，他会将线条缩短或经过剪裁
并且置於前景，从而制造一种假像
就像你也置身于赛马盛会中
和画中骑师有着相同的心情
1881
1881 Criminal Physiognomies
1881 Dancers in Light Blue (Rehearsing in the Dance Studio)
1881 The Star
1881 骑师们 Jockeys
1882
1882 At the Milliner's
1882 Before the Race
1882 Dancer with Tambourine
1882 The Little Milliners
1882 The Milliner
1882 Waiting
1882 Young Women Resting in a Field
在德加创作的“赛马”作品中可以看出
德加的观察方法已经发生根本的变化
线条只是隐隐约约地显出
没有破坏根据明暗处理安排的色彩关系
色彩形成了统一的整体，在这个整体中
突出骑手身形的调子
同显示地平线上的房子的调子同出一辙
这种视觉形象的统一中
从绘画的“不完整性”中
产生一种使画中所有对象
都能自由呼吸的空气感
1883
1883 After the Bath
1883 At the Milliner's
1883 Bedtime (Woman Extinguishing Her Lamp)
1883 Dancer Tilting
1883 Dancers tying shoes
1883 Mme Jacques Fourchy
1883 The Cup of Tea (Breakfast after Bathing)
1883 The Morning Bath
1883 Woman in a Bath Sponging Her Leg
1884
1884 After the Bath
1884 Dancers in a Box
1884 Dancers in a Studio
1884 In a Laundry
1884 Nude in a Tub
1884 Racehorses
1884 Singer in Green
1884 The Millinery Shop
1884 The Pink Dancers, Before the Ballet
1884 The Toilette
1884 Woman Drying her Arm
1884 Woman Trying on a Hat
1884 Laundry Girls Ironing
两个熨衣妇
两个女人在熨衣服
左边一位躬着身子
双手用力拖压熨斗
另一个不堪劳累
正在打呵欠伸懒腰
两个熨衣的女人
为19世纪巴黎妇女形象
提供了划时代的定义
1885
1885 A Grecian Dance
1885 After the Bath
1885 After the Bath
1885 At the Cafe des Ambassadeurs
1885 At the Mirror
1885 At the Races - Before the Start
1885 Ballet Scene
1885 Dancers Bending Down
1885 Jockeys
1885 Nude Woman Pulling on Her Clothes
1885 Race horses
1885 Six Friends of the Artist
1885 The Racecourse
1885 Three Women at the Races
1885 Woman Drying Her Foot
1886
1886 After the Bath (Woman wiping her left foot)
1886 Dancers Climbing the Stairs
1886 Four Jockeys
1886 Harlequin and Colombina
1886 Helene Rouart in Her Father s Study
1886 Jockeys in the Rain
1886 Portrait of Zacherie Zacharian
1886 Two harlequins
1886 Woman Having a Bath
德加晚年把主要精力
投入到女子裸体主题
他比谁都更努力于把裸体画
从学院派的禁锢中解脱出来
不断研究形体、光线
运动、人体器官及其作用
企图做个“人—兽”的肖像画家
对人体机器、动作、活力的赞赏
是如此之大
以致于冷冰冰的理性构想
在他的形象中全然消失了
不但如此
这些形象还反映了他的全部热情
有时甚至是他的全部挣扎
1886 浴盆 The Tub
从1880年开始，德加主要是画色粉画
色粉画使德加能够用素描方法画色彩
在无损素描的情况下
取得丰富的设色效果
1886 The Tub
浴盆中的裸女
看不到明显几何图形
但是观赏者
若从裸女右手抓着头发的位置开始欣赏这幅画
将顺着头发往下随少女的眼神注意浴盆的边缘
然后再一路随著浴盆的弧线
经过少女的手指，与桌边的直线相交
德加很技巧地运用桌上的梳子
引导视线回到少女迷人的身躯
以及她的右手
画中其他的物品或摆设
则是用来平衡整个画面
使观众的注意力
随时停留在裸女的身上
1887
1887 Seated Nude Combing Her Hair
1887 Woman Ironing
1888
1888 Kneeling Nude
1888 Three Dancers
1888 Woman Combing Her Hair
梳头女子
这是一幅写生性很强的作品
洗浴后的裸女背对我们梳发
但画家注重的是裸女背部、臀部的受光部位
至于黄色的墙壁、淡蓝的浴中及阳光的反射
都是画家体现光的借体
德加画的这类裸女都很朴素单纯
她们无意搔首弄姿，不展示官能美
只是要达到人体与光色的和谐之美
1889
1889 Degas with Jacques Normand and his wife
1889 Jockey in Blue on a Chestnut Horse
1889 Reading
1889 The Mante Family
1890
1890 After the Bath
1890 Dancer with Bouquets
1890 Dancers, Pink and Green
1890 Lake and Mountains
1890 Monotype landscapes
1890 Women Leaning on a Railing
1890 Dancer Adjusting Her Sandel
调整舞鞋的舞者
1891
1891 Ballet Rehearsal
1891 Dancer with Raised Arms
1892
1892 Le Vésuve
1892 After the Bath, Woman Drying Herself
1892 Before the Curtain Call
1892 Interior at Menil-Hubert
1892 The Billiard Room at Menil-Hubert
1892 The Trainers
1892 Woman Having Her Hair Combed
1893
德加感到他有失明的危险
因此他急不可待、狂热的画起画来
这时的德加对人对已都很严历苛刻
性情变得十分古怪
1893 Ballet Scene
1893 Rest
1893 Two Dancers
1893 Woman at Her Bath
1893 Woman Drying Her Hair
1893 Woman Drying Herself
1894
1894 Breakfast after Bathing
1894 Racehorses in a Landscape
1894 Woman Combing Her Hair
1985
1895 After Bathing
1895 After the Bath (Woman Drying Herself)
1895 Ballet dancers
1895 Conversation
1895 Dance Rehearsal in the Studio of the Opera
1895 Dancers in Blue
1895 Dancers
1895 Dancers
1895 Henri Rouart and His Son Alexis
1895 Degas seated, beside a sculpture by Albert Bartholom
1895 Jockeys
1895 Pagan and Degas' Father
1895 Seated Woman
1895 Three Russian Dancers
1895 Woman Having Her Hair Combed
德加因为视力衰退
他开始大量画色粉画，成就出众
雷诺阿曾非常佩服他的色粉画水平
晚期的色粉画色阶变得越来越鲜艳
甚至艳的刺眼
后来他视力越来越弱
线条优势取代了色彩
他以宏大的气势画出了一作品
他在晚期画作被错认为
抽象表现派画家的先驱
1895 Self-Portrait with Christine and Yvonne Lerolle
1895 Self-Portrait with Zoe Closier
1896
1896 After the Bath
1896 Dancer Putting on Her Slipper
1896 Houses at the Foot of a Cliff (Saint-Valery-sur-Somme)
1896 The Fallen Jockey
1896 The Tub
1896 Two Dancers Resting
1896 View of Saint-Valery-sur-Somme
生命末期把精力转向雕塑
1881 Little Dancer, Fourteen Year Old
1882 La Masseuse
1885 Dancer Fastening the String of Her Tights
1888 Woman Rubbing Back With A Sponge (Torso)
1890 Dancer Looking Back at Her Foot
1892 Study of Head of Mme Salle
1895 FEMME SE COIFFANT
1886-1917年
德加的作品已经不再展出
1897 Dancer and Tambourine
1897 Dancers in the Wings
1897 Edgar’s Brother Rene Degas (standing),
French Romantic Composer Ernest Chausson and
Impressionist Composer Claude Debussy
at the Chateau de Menil
1897 In the Dance Studio
1897 Red Ballet Skirts
1897 The Toilette
1897 Three Dancers
1898
1898 Ballet Scene
1898 Dancers
1898 Three Dancers
1898 Woman with a Towel
1899
1899 Blue Dancers
1899 Dancers in Green and Yellow
1899 Dancers
1899 Russian Dancers
1899 Two Dancers in Blue
1899 四位舞者 Four Dancers
1900
1900 After Bathing, Woman Drying Herself
1900 Ballet Dancers in the Wings
1900 Dancer arranging her hair
1900 Dancers at the Barre
1900 Dancers on Stage
1900 Study photos
1900 Three Jockeys
1900 Woman at Her Toilette
1901
1901 Group of Dancers, Tree Décor
1902
1902 Four Dancers
1902 Two Laundresses and a Horse
1903
1903 After the Bath, Woman Drying Her Hair
1903 Edgar Degas (far right)
1903 Four Dancers
1903 Three Dancers, Blue Skirts, Red Blouses
1904
1904 After the Bath
1904 Study for a Portrait
1904 Three Dancers
1905
1905 After Bathing, Woman Drying Herself
1905 At the Milliner's
1905 Madame Alexis Rouart and Her Children
1905 Woman Drying Herself
1905 Woman Seen From Behind, Drying Hair
1910
1910 Two Dancers in Yellow and Pink
1917
9月27日
德加逝世于巴黎，享年83岁
1917 Degas On His Deathbed
素材及图片来自网络
