一个在锁孔里观察人生的画家是谁
被形容是“一个在锁孔里边观察人生的”画家是“德加”
埃德加·德加(Edgar Degas，1834-1917)印象派重搜碰毕要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长吵清在一个非世芹常关心艺术的家庭中。
埃德加德加英文介绍
Hilaire Germain Edgar Degas was a French pai来自nter and sculpto360问答r whose inno矛仍且vative compo甲兰义间sition, skillful drawing, and perceptive analysis of movement made him one of the masters of modern art in the late 19th century.
Degas is usually classed with the impressionists, and he exhib着声约唱镇盾面丰ited with them in seven of the eight impressionist exhibitions. However, his training in classical drafting and his dislike of painting directly from nature produced a styl飞林地单还娘e that represent活意准定计刻境但航速组ed a related alte师距增日践推思另电rnative to 什假京挥依氧虽足impressionism.
Degas was born into a well-to-do banking family on July 19, 1834, in Paris. He studied at the École des Beaux-Ar督妈走术皮木ts under a disciple of the famous French classicist J. A. 圆汽D. Ingres, where Degas developed the great drawing ability that was to be a sali径快画队够洋庆衣反世ent characteristic of his art. After 意形1865, under the influence of the budding impressionist movement, he gave up academic subjects to turn to contemporary theme铁来江s. But, unlike the impressionists, h掉告要士随点e preferred to w演民识特里基升ork in the studio and was u继眼进伯费ninterest间抗验蛋势变门据验材历ed in the study of natural light that fascinated them. He was attracted by theatrical subjects, and most of his works 衡假机有各四面把depict racecourses, theaters, cafés, music halls, or boudoirs. Degas was a keen observer of humanity—particularly of women, with whom his work is preoccupied—and in his portraits as well as in his studies of dancers, milliners, and laundresses, he cultivated a complete objectivity, attempting to catch his subjects in poses as natural and spontaneous as those recorded in action photographs.
His study of Japanese prints led him to experiment with unusual visual angles and asymmetrical compositions. His subjects often appear cropped at the edges, as in Ballet Rehearsal (1876, Glasgow Art Galleries and Museum). In Woman with Chrysanthemums (1865, Metropolitan Museum of Art, New York City), the female subject of the picture is pushed into a corner of the canvas by the large central bouquet of flowers.
In the 1880s, when his eyesight began to fail, Degas began increasingly to work in two new media that did not require intense visual acuity: sculpture and pastel. In his sculpture, as in his paintings, he attempted to catch the action of the moment, and his ballet dancers and female nudes are depicted in poses that make no attempt to conceal their subjects' physical exertions. His pastels are usually simple compositions containing only a few figures. He was obliged to depend on vibrant colors and meaningful gestures rather than on precise lines and careful detailing, but, in spite of such limitations, these works are eloquent and expressive and have a simple grandeur unsurpassed by any of his other works.
Degas was not well known to the public, and his true artistic stature did not become evident until after his death. He died in Paris on September 27, 1917.
