Êàðòèíû Ýäãàðà Äåãà 1860 ã.
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Ïîíåäåëüíèê, 09 Ôåâðàëÿ 2015 ã. 04:48
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Êàðòèíû Ýäãàðà Äåãà
1860 ã.
1860 Èòàëèÿ
Âåñíîé 1860 ãîäà Äåãà ïðåäïðèíèìàåò ïÿòîå ïóòåøåñòâèå â Èòàëèþ. Íà ýòîò ðàç îí åäåò â Ïàäóþ, ãäå êîïèðóåò ôðåñêó Òèöèàíà «×óäî Àíòîíèÿ Ïàäóàíñêîãî».  Ïàðèæå Äåãà çàêàí÷èâàåò èñòîðè÷åñêîå ïîëîòíî «Ìîëîäûå ñïàðòàíêè, âûçûâàþùèå íà ñîñòÿçàíèå þíîøåé».
Èñòîðè÷åñêèå ïîëîòíà, ê êîòîðûì îòíîñÿòñÿ è «Ñïàðòàíêè», íå óäàëèñü Äåãà â òîì ïëàíå, ÷òî òàê è îñòàëèñü íåçàâåðø¸ííûìè. Íåñìîòðÿ íà ìíîæåñòâî ïîäãîòîâèòåëüíûõ ðèñóíêîâ è íàáðîñêîâ ìàñëîì, Äåãà òàê è íå ñìîã èõ çàâåðøèòü – äâèæåíèå ê èäåàëó ñòàëî äëÿ õóäîæíèêà ñàìîöåëüþ.
Òåì íå ìåíåå, èñòîðè÷åñêèì ïîëîòíàì Äåãà ïðèñóùà îðèãèíàëüíîñòü îáðàçîâ è ñþæåòà, ÷òî äåëàåò èõ èíòåðåñíûìè äëÿ èçó÷åíèÿ äàæå â íåçàêîí÷åííîì âèäå.

Ïîðòðåò êíÿãèíè Ïîëèí äå Ìåòòåðíèõ
(àíãë. Princess Pauline de Metternich)
îê. 1860 ã. Õîëñò, ìàñëî.
Ðàçìåð: 40 x 28,8 ñì.
Íàöèîíàëüíàÿ ãàëåðåÿ
Ëîíäîí, Âåëèêîáðèòàíèÿ.
(àíãë. National Gallery)

Äåâî÷êà, íåñóùàÿ öâåòû â ôàðòóêå
(àíãë. Little Girl Carrying
Flowers in Her Apron)
îê. 1860-1862 ãã. Õîëñò, ìàñëî.
×àñòíàÿ êîëëåêöèÿ.
(àíãë. Private Collection)

Ìîëîäàÿ æåíùèíà è èáèñû
(àíãë. Young Woman with Ibis)
îê. 1860-1862 ãã. Õîëñò, ìàñëî.
Ðàçìåð: 97,4 x 140 ñì.
Ìóçåé èñêóññòâ Ìåòðîïîëèòåí,
Íüþ-Éîðê, ÑØÀ.
(àíãë. Metropolitan Museum of Art)


Ãþñòàâ Ìîðî
(ôð. Gustave Moreau)
1860-1868 ãã. Õîëñò, ìàñëî.
Ðàçìåð: 40 x 27 ñì.
Ìóçåé Ãþñòàâà Ìîðî,
Ïàðèæ, Ôðàíöèÿ.
(ôð. Musee Gustave Moreau)

Âèä Íåàïîëÿ
(àíãë. View of Naples)
1860 ã. Áóìàãà, àêâàðåëü.
Íàöèîíàëüíàÿ áèáëèîòåêà Ôðàíöèè,
Ïàðèæ, Ôðàíöèÿ.
(ôð. Biblioteque Nationale de France)

Íà ñêà÷êàõ
(àíãë. On the Racecourse)
îê. 1860 ã. Õîëñò, ìàñëî.
Ìóçåé èñêóññòâ, Áàçåëü, Øâåéöàðèÿ.
(àíãë. Kunstmuseum)

Ïðîãóëêà ó ìîðÿ
(àíãë. Promenade beside the Sea)
îê. 1860 ã. Õîëñò, ìàñëî.
Ðàçìåð: 22,5 x 32,5 ñì.
Íàöèîíàëüíàÿ ãàëåðåÿ
Ëîíäîí, Âåëèêîáðèòàíèÿ.
(àíãë. National Gallery, London)

Ñïàðòàíñêèå äåâóøêè âûçûâàþò
íà ñîñòÿçàíèå þíîøåé
(ôð. Petites filles spartiates
provoquant des garcons)
îê. 1860 ã. Õîëñò, ìàñëî.
Ðàçìåð: 97,4 x 140 ñì.
×èêàãñêèé Èíñòèòóò èñêóññòâ.
×èêàãî, Èëëèíîéñ, ÑØÀ.
(àíãë. Art Institute of Chicago)

Þíûå ñïàðòàíöû òðåíèðóþòñÿ
(àíãë. Young Spartans Exercising)
îê. 1860 ã. Õîëñò, ìàñëî.
Ðàçìåð: 109,5 x 155 ñì.
Íàöèîíàëüíàÿ ãàëåðåÿ
Ëîíäîí, Âåëèêîáðèòàíèÿ.
(àíãë. National Gallery, London)

Þíûå ñïàðòàíöû òðåíèðóþòñÿ (ýòþä)
(àíãë. Study for "The Young
Spartans Exercising")
îê. 1860 ã. Áóìàãà íà äëèííîâîëîêíèñòîé
áóìàãå íà êàðòîíå, ìàñëî.
Ðàçìåð: 20,9 x 28 ñì.
Ìóçåé èñêóññòâ Ãàðâàðäñêîãî óíèâåðñèòåòà,
Êåìáðèäæ, Ìàññà÷óñåòñ, ÑØÀ.
(àíãë. Harvard University Art Museums)

Íà ñêà÷êàõ. Ñòàðò
(àíãë. At the Races: The Start)
îê. 1860-1862 ãã. Õîëñò, ìàñëî.
Ðàçìåð: 33 x 47 ñì.
Ìóçåé èñêóññòâ Ãàðâàðäñêîãî óíèâåðñèòåòà,
Êåìáðèäæ, Ìàññà÷óñåòñ, ÑØÀ.
(àíãë. Harvard University Art Museums)

Ñåìèðàìèäà ñòðîèò Âàâèëîí
(ýòþä êîìïîçèöèè)
(ôð. Semiramis construisant Babylone,
etude d'ensemble)
îê. 1860-1862 ãã. Áóìàãà, ïàñòåëü.
Ðàçìåð: 40 x 66,9 ñì.
Ìóçåé Îðñå, Ïàðèæ, Ôðàíöèÿ.
(ôð. Musee d’Orsay)

Îáðåòåíèå Ìîèñåÿ
(àíãë. The finding of Moses)
îê. 1860-1870 ãã. Õîëñò, ìàñëî.
Ðàçìåð: 31,2 x 17,3 ñì.
Ìóçåé Ôèòöâèëüÿìà,
Êåìáðèäæ, Âåëèêîáðèòàíèÿ.
(àíãë. Fitzwilliam Museum)
Ñåðèÿ ñîîáùåíèé "Ýäãàð Äåãà Hilaire-Germain-Edgar De Gas":
×àñòü 1 - Îæèäàíèå, èëè Êàìèëëà â çåë¸íîì è ãîëóáîì - 2
×àñòü 2 - ÝÄÃÀÐ ÄÅÃÀ ~~ Ãîëóáûå òàíöîâùèöû
...
×àñòü 15 - Edgar Degas - Artworks ~~ Art Gallery of ...
×àñòü 16 - Êàðòèíû Ýäãàðà Äåãà 1859 ã.
×àñòü 17 - Êàðòèíû Ýäãàðà Äåãà 1860 ã.
×àñòü 18 - Edgar Degas - Artworks
×àñòü 19 - Êàðòèíû Ýäãàðà Äåãà 1861-1863 ãã.
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×àñòü 42 - Èñòîðèÿ îäíîãî øåäåâðà: «Ãîëóáûå òàíöîâùèöû» Äåãà
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×àñòü 44 - Edgar Degas (French, 1834-1917)
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Êàðòèíû Ýäãàðà Äåãà 1860 ã.
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