埃德加德加英文介绍
Hilaire Germain Edgar Degas was a French painter and sculptor whose innovative composition, 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来自, and he exhibited with them in seven of the eight impressionist exhibitions. However, his training in classical drafting and his dislike of painting directly from nature pr品手块者呼例置革oduced a style that represented a related alternative to impr360问答essionism.
Degas was born into a well-to-do banking family on July 19, 1834, in Paris. He studied at the École 孙部des Beaux-部止求科迅宪委坚剂仍Arts under a disciple of the famous French classicist J. A. D. Ingres, where Degas developed the great drawing ability that was to be a salient characteristic of his art. After 1865, under the influence of the budding impressionist movement, h经担书超几e gave up ac乱约损刑送ademic subjects to turn to contemporary 议宪线themes. But, u动声养四银车式难采nlike the impressionists, he preferred to work in the studio and was uni误日重坏己什端的丝nterested in the study of natural light that fascinated the真秋改程扬m. He was attr刚层到无危acted by theatrical subjects, and most of his works depict 风racecourses, th双称法端层机其严抓eaters, cafés, music halls, or boudoirs. Dega乐外刚鲜根笔硫季s was a keen observer of humanity—partic白其穿齐村适青虽油叫ularly of women, with whom his work is preoccupied—and in his portraits as well as in his studies of dancers, milliners, an事害适老造意伯小d laundresses, he cultivated a complete objectivity, attempting to catch his subject设钢被表s in poses 述养调衣环代as natural and spontaneous as those recorded in action photographs.
His study of Japanese 愿开七小步老千例似真伯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.
埃德加·德加——游离于印象派之外的印象派画家
埃德加·伊莱尔·日耳曼·德加（法语：Edgar Hilaire Germain de Gas，顷洞纳1834年7月19日-1917年9月27日），昵称为埃德加·德加（Edgar Degas），生于法国巴黎，印象派画家、雕塑家。
他曾在巴黎艺术颤猛学院学习绘画，受到安格尔的很大影响。借着1855年万国博览会举办安格尔回顾展的机会，德加与安格尔相见并临摹了许多他的作品。
德加富于创新的构图、细致的描绘和对动作的透彻表达使他成为19世纪晚期现代艺术的大师之一。他最著名的绘画题材包括芭蕾舞演员和其他女性、以及赛马。他通常雀没被认为是属于印象派，但他的有些作品更具古典、现实主义或者浪漫主义画派风格。
篇幅原因，只放部分有代表性的作品。
1.汲取印象主义光色的原理
自然光存在于日常生活中，它无处不在。德加虽早期师承古典主义，但由于受到当时光学科学启发，创作后期渐 渐被印象主义的光色表现所吸引，积极参加印象派画家的各种活动，并从与印象派画家交换个人见解中完善自己对光色表现的认识。1874年，他的作品《在舞台上排练》中可以明显看出印象主义对德加的影响。油画中虽然未画出窗子，但足以感受到光线透过窗子洒在每一位舞者身上，舞女的裙子轻盈跳动。德加对光色的描绘已与印象派画家别无二致。在德加晚年许多作品中可以看出光色在他的画作中成了不可忽视的亮点。
2..捕捉动态的瞬间
龚古尔在日记中这样记录德加：“ 他是一个迄今为止我见过表现瞬间美景最出色的人 。”
德加与印象派画家一样秉承着描绘现实世界的思想与理想化的传统艺术相抗衡。“ 在观察的时候不真正画，而画的时候也不观察，去画回忆中的场景 ”是德加作画的准则。这在他创作的芭蕾舞题材、赛马题材和浴女题材中得到很好的展现。为了表达瞬间的真实发现有别常人的构图与瞬间，1885年的色粉作品《六位艺术家朋友》打破了寻常的构图，画中人物犹如在街上匆匆擦肩而过的陌生人，彼此间没有什么联系。构图看似随意的布局，实际上是经过德加心推敲的，其构图的特点是乱中有致、凡中见奇。
3.追求现实中美的事物
从德加青年时期的一系列素描作品和少量的油画作品看，他笔下的人物带有浓郁的理想美气息，或以神话题材加 以描绘，又或因宗教思想制约，画面中缺少生气。时间推移至19世纪，在反古典主义、反浪漫主义吸收现实主义的艺术思潮中，德加渐渐觉醒。德加偏爱用色粉笔画芭蕾舞女轻盈婀娜的身姿。常常隐于舞台幕布之后，悄悄观察每一位舞女上台前的忐忑不安、在舞台上的全力奉献和落幕后的疲惫不堪。他着眼于一个个鲜活的生命体，将其赋予灵性，让他们在布面油画中跳动。最具有代表性的是德加在1874年完成的油画作品《舞蹈课》，画面生动写实，画虽是静止的，却可以给人以运动感。德加总是对现实观察得细致入微，也正是因此，德加的作品被认为是印象派中不可多得的佳作。
德加的一生都倾注于艺术，从早期的探索到中期的迷茫再到晚期的艺术成熟，每一步都见证着德加的艺术革新。在德加的绘画特征上，他与众多印象派画家有明显的不同。不论是莫奈、马奈、雷诺阿还是毕沙罗，他们在外形的勾勒上都不如德加精细，但是在用色明度上，他们还是比德加略胜一筹。在思想上，德加始终与印象派保持一致，在面临与印象派相左的观点面前，德加又能坚持印象派立场。这种对印象派的若即若离使德加始终游走在印象派的边缘，也正是因为如此，德加的作品才更有艺术探究的价值。
