Home » Edgar Degas – Ballet Rehearsal Onstage x 2!
While researching another project, I came across two paintings by Edgar Degas – one in oil, one in pastel – on the Metropolitan Museum of Art’s website. I was so taken by these pieces that I had to bring them to you! They have slightly different titles but are basically the same painting of a ballet rehearsal onstage. The oil is called “The Rehearsal of the Ballet On Stage” while the pastel is called, “The Rehearsal Onstage.”
There’s a third version of this painting at the Musee D’Orsay. It’s larger than the two at the Met and was shown at the first Impressionist exhibition in 1874. It looks similar but is different from the two at the Met in size, in colouring, and in composition. The two paintings at the Met are tentatively dated the same year as the D’Orsay one and they are the ones we’ll explore here.
Let’s have a look at the three paintings. First, the one from the Musée D’Orsay followed by the two paintings from the Met.
Edgar Degas, “Rehearsal of a Ballet Onstage,” 1874, oil on canvas, 25 5/8 x 32 1/8 in (65 x 81.5 cm), Musée D’Orsay, Paris.
Edgar Degas, “The Rehearsal of the Ballet Onstage,” ca. 1874, oil colours mixed with turpentine, with traces of watercolour and pastel over pen-and-ink drawing on cream-coloured wove paper, laid down on bristol board and mounted on canvas, 21 3/8 x 28 3/4 in (54.3 x 73 cm), Metropolitan Museum of Art, New York.
Edgar Degas, “The Rehearsal Onstage,” ca. 1874, pastel over pen-and-ink drawing on thin cream-coloured wove paper, laid down on bristol board and mounted on canvas, 21 x 28 1/2 in (53.3 x 72.4 cm), Metropolitan Museum of Art, New York.
First the similarities:
Both are interpretations of the same subject (a ballet rehearsal onstage)
They are pretty much the same size (21 3/4 x 28 3/4 in and 21 x 28 1/2 in)
Both paintings are worked over an ink drawing on paper (an unusual practice for Degas).
And now for some significant differences.
The first difference is that Degas chose a different medium for each. The oil version has a warmer feel while the pastel version has a cooler appearance. The pastel version seems more worked out and has more clarity so may have been done after the oil version.
In the pastel version, Degas has removed a number of figures from the two groupings seen in the oil painting. (I could also say that Degas increased the number of figures in the oil version but I am going about this blog as if the pastel version came after the oil version!)
Compare the two paintings below:
Edgar Degas, “The Rehearsal of the Ballet Onstage,” ca. 1874, oil colours mixed with turpentine, with traces of watercolour and pastel over pen-and-ink drawing on cream-coloured wove paper, laid down on bristol board and mounted on canvas, 21 3/8 x 28 3/4 in (54.3 x 73 cm), Metropolitan Museum of Art, New York – the groupings
Edgar Degas, “The Rehearsal Onstage,” ca. 1874, pastel over pen-and-ink drawing on thin cream-coloured wove paper, laid down on bristol board and mounted on canvas, 21 x 28 1/2 in (53.3 x 72.4 cm), Metropolitan Museum of Art, New York – the groupings
Four figures in the oil painting
Two figures in the pastel painting
Four figures in the oil painting
Two figures in the pastel painting
In the pastel version, Degas decreased the number of double bass necks visible and moved it to the right, detaching it from the dark shape of the dancing master. Have a look at the two paintings:
Edgar Degas, “The Rehearsal of the Ballet Onstage,” ca. 1874, oil colours mixed with turpentine, with traces of watercolour and pastel over pen-and-ink drawing on cream-coloured wove paper, laid down on bristol board and mounted on canvas, 21 3/8 x 28 3/4 in (54.3 x 73 cm), Metropolitan Museum of Art, New York – position of double bass
Edgar Degas, “The Rehearsal Onstage,” ca. 1874, pastel over pen-and-ink drawing on thin cream-coloured wove paper, laid down on bristol board and mounted on canvas, 21 x 28 1/2 in (53.3 x 72.4 cm), Metropolitan Museum of Art, New York – showing changed position of the double bass.
Look at the way Degas has treated the stage background differently in the two paintings. Note how he changed the lighting and also the illusion of depth.
Edgar Degas, “The Rehearsal of the Ballet Onstage,” ca. 1874, oil colours mixed with turpentine, with traces of watercolour and pastel over pen-and-ink drawing on cream-coloured wove paper, laid down on bristol board and mounted on canvas, 21 3/8 x 28 3/4 in (54.3 x 73 cm), Metropolitan Museum of Art, New York – stage background
Edgar Degas, The Rehearsal Onstage, ca. 1874, pastel over pen-and-ink drawing on thin cream-coloured wove paper, laid down on bristol board and mounted on canvas, 21 x 28 1/2 in (53.3 x 72.4 cm), Metropolitan Museum of Art, New York – look at how differently Degas has treated the background here!
In the pastel version, Degas dulled the light behind the man on the far right and lightened the figure. Less value contrast means our attention isn’t drawn there instantly. On the other hand, in the pastel painting, Degas slightly lightened the stage set behind the other observer creating more contrast so we could see him more easily. Have a look and see the differences:
Edgar Degas, “The Rehearsal of the Ballet Onstage,” ca. 1874, oil colours mixed with turpentine, with traces of watercolour and pastel over pen-and-ink drawing on cream-coloured wove paper, laid down on bristol board and mounted on canvas, 21 3/8 x 28 3/4 in (54.3 x 73 cm), Metropolitan Museum of Art, New York – the male watchers.
Edgar Degas, “The Rehearsal Onstage,” ca. 1874, pastel over pen-and-ink drawing on thin cream-coloured wove paper, laid down on bristol board and mounted on canvas, 21 x 28 1/2 in (53.3 x 72.4 cm), Metropolitan Museum of Art, New York – the male watchers
Comparing both paintings, you’ll see figures facing different directions or at different angles and heads facing different ways. There are also some subtle and not so subtle colour changes between the two paintings. I’m going to leave it to you to pick some of these out.
So now I’d love to hear from you about these two versions of ballet rehearsal onstage. Which do you prefer? Which do you think was the last version and why? What are some of the other differences you see? I’d LOVE to hear your comments!!
Until next time,
~ Gail
PS. If you go to the Met, you will see those of the many preparatory drawings Degas made for almost every figure, from the dancer scratching her back in the foreground to the woman yawning next to the stage flat.
PPS. Interested in the evolution of ballet? Then go down this rabbit hole and read this essay on the Met’s website.
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22 thoughts on “Edgar Degas – Ballet Rehearsal Onstage x 2!”
Beth
I have not read all of this yet BUT I have skimmed and will read more over the weekend. I am so amazed by and grateful for what I see and I can not thank you enough. I highly respect those who share their knowledge and I thank you for sharing yours. For some reason, this Email especially caught my eye. I saw the originals years and years back when I was in my teens but was not a painter at that time.
Thank you from the bottom of my heart for sharing.
I prefer the pastel but would not have known why without your explanation. I find it very encouraging that even a master revises his work when new thoughts or improvements come to mind.
Eddie isn’t it funny how we sometimes don’t know why we prefer something? It takes time and observing closely and so I’m happy to know I helped here. And yes, I love seeing revised pieces by a master artist. I think that’s part of what makes them masters – their lack of hesitation or resistance to repeat and redo and find better and more successful ways to say what they want to say.
Thank you for the interesting discussion about the 3 Edgar Degas ballet rehearsal paintings. I prefer the pastel version. To me the composition is better, and I like the cooler tones. However, I appreciate all 3 paintings and the studied effort he put into the work. I found it a little surprising how Degas mixed watercolor, oil with turpentine, and pastel over his ink drawing to achieve his oil painting. I do agree that an artist should do whatever the artist believes will render the desired outcome.
You are welcome Wendy! I loved bringing these pieces to you. And I agree about the pastel but it shows what it took to get there.
Obviously, Degas was unafraid of experimentation and not held back by the idea of shoulds or shouldn’ts, of what does or doesn’t work together. Inspiring don’t you think?!!
I definitely prefer the pastel. I think that the pastel has truer color and is better able to show the texture of the material in the costumes. I agree that the pastel was probably the second painting.
Thanks for your input Patricia. I wonder at what speed Degas worked these pieces. Certainly, the pastel piece seems to be worked with more care and attention to line and edge and detail. And yes, I love the way pastel can be used to show the texture of ballet costumes especially tulle.
At first glance, they certainly look the same. But then to find out there are so many differences! One of the things popping out at me was the different expression on the dancer whose arms are in an overhead position behind the maestro. The one in the oil painting is much more attractive than the one in the pastel. She looks garish in the pastel. All in all, I like the pastel one the best. Thanks for this interesting comparison!
Don’t they Ruth! Then look more closely and boom, all the differences, big and small, start to pop out.
Interesting that you picked out that specific figure. I agree, the profile version does seem more complimentary than the face seen in the pastel painting. The one in the pastel reminds me of Degas’ treatment of the Singer with A Glove – not very flattering!!
Thanks again, Gail, for an enlightening blog! I also like the pastel version better…so many parts have been improved. The more detailed background, less figures, the removal of one double bass and the repositioning of the other all make me believe that the pastel version was done last. (Not that I would have noticed without your notes, though!) It’s a grand lesson showing the improvements that can happen when we do the same subject more than once.
Thanks Wendy!
Yes, it’s so interesting to look more deeply at these pieces and really see the changes Degas made.
And yes, let’s do this ourselves more often. I think I’ll take this idea up in the 31-pastels-in-31-days challenge!
I loved your comparisons of these 3 pieces. The differences are astonishing. I too agree that the pastel came first because the changes made for a more interesting painting.
Thanks Cheryl!
The differences are quite something. I LOVE that DEgas went through the different iterations of the same subject, honing in on what he wanted to say.
My favorite is #2. I have to say, I believe the focus is not the back in the others. It is the underarm, the line of the raised arm going in to the arm pit, down the side of the breast. Much more sensual and equally feminine in all of the raised arms, almost to the point of not noticing the rest of the body. These were arm studies of a sensitive part of a woman’s body. Notice the raised arms in most of his paintings of bare arms. In the ballet studies, too.
Hi Lynne, Such an interesting and close look at an aspect of Degas’ work. I appreciate you sharing your observations with us!! It has made me go back and look at some of his other paintings 😀
I see these two Degas paintings every time I go to the Met and always spend a lot of time comparing the two. I have never noticed any of this!! Thanks, this was fascinating!
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22 thoughts on “Edgar Degas – Ballet Rehearsal Onstage x 2!”
I have not read all of this yet BUT I have skimmed and will read more over the weekend. I am so amazed by and grateful for what I see and I can not thank you enough. I highly respect those who share their knowledge and I thank you for sharing yours. For some reason, this Email especially caught my eye. I saw the originals years and years back when I was in my teens but was not a painter at that time.
Thank you from the bottom of my heart for sharing.
Beth thank you so much for your effusive response and appreciation. Words like yours make my heart sing!!
Lucky you seeing the original pieces. After you have a deeper look at the blog, I’d love to hear more of your thoughts!
Truly love pastels. Thanks for sharing.
Me too!!!
And you are soooo welcome Nancy!
I prefer the pastel but would not have known why without your explanation. I find it very encouraging that even a master revises his work when new thoughts or improvements come to mind.
Eddie isn’t it funny how we sometimes don’t know why we prefer something? It takes time and observing closely and so I’m happy to know I helped here. And yes, I love seeing revised pieces by a master artist. I think that’s part of what makes them masters – their lack of hesitation or resistance to repeat and redo and find better and more successful ways to say what they want to say.
Thank you for the interesting discussion about the 3 Edgar Degas ballet rehearsal paintings. I prefer the pastel version. To me the composition is better, and I like the cooler tones. However, I appreciate all 3 paintings and the studied effort he put into the work. I found it a little surprising how Degas mixed watercolor, oil with turpentine, and pastel over his ink drawing to achieve his oil painting. I do agree that an artist should do whatever the artist believes will render the desired outcome.
You are welcome Wendy! I loved bringing these pieces to you. And I agree about the pastel but it shows what it took to get there.
Obviously, Degas was unafraid of experimentation and not held back by the idea of shoulds or shouldn’ts, of what does or doesn’t work together. Inspiring don’t you think?!!
I definitely prefer the pastel. I think that the pastel has truer color and is better able to show the texture of the material in the costumes. I agree that the pastel was probably the second painting.
Thanks for your input Patricia. I wonder at what speed Degas worked these pieces. Certainly, the pastel piece seems to be worked with more care and attention to line and edge and detail. And yes, I love the way pastel can be used to show the texture of ballet costumes especially tulle.
Thanks for this post. All the comparisons are fascinating.
You are welcome Laurie! So glad you enjoyed the comparisons.
At first glance, they certainly look the same. But then to find out there are so many differences! One of the things popping out at me was the different expression on the dancer whose arms are in an overhead position behind the maestro. The one in the oil painting is much more attractive than the one in the pastel. She looks garish in the pastel. All in all, I like the pastel one the best. Thanks for this interesting comparison!
Don’t they Ruth! Then look more closely and boom, all the differences, big and small, start to pop out.
Interesting that you picked out that specific figure. I agree, the profile version does seem more complimentary than the face seen in the pastel painting. The one in the pastel reminds me of Degas’ treatment of the Singer with A Glove – not very flattering!!
Thanks again, Gail, for an enlightening blog! I also like the pastel version better…so many parts have been improved. The more detailed background, less figures, the removal of one double bass and the repositioning of the other all make me believe that the pastel version was done last. (Not that I would have noticed without your notes, though!) It’s a grand lesson showing the improvements that can happen when we do the same subject more than once.
Thanks Wendy!
Yes, it’s so interesting to look more deeply at these pieces and really see the changes Degas made.
And yes, let’s do this ourselves more often. I think I’ll take this idea up in the 31-pastels-in-31-days challenge!
I loved your comparisons of these 3 pieces. The differences are astonishing. I too agree that the pastel came first because the changes made for a more interesting painting.
Thanks Cheryl!
The differences are quite something. I LOVE that DEgas went through the different iterations of the same subject, honing in on what he wanted to say.
My favorite is #2. I have to say, I believe the focus is not the back in the others. It is the underarm, the line of the raised arm going in to the arm pit, down the side of the breast. Much more sensual and equally feminine in all of the raised arms, almost to the point of not noticing the rest of the body. These were arm studies of a sensitive part of a woman’s body. Notice the raised arms in most of his paintings of bare arms. In the ballet studies, too.
Hi Lynne, Such an interesting and close look at an aspect of Degas’ work. I appreciate you sharing your observations with us!! It has made me go back and look at some of his other paintings 😀
I see these two Degas paintings every time I go to the Met and always spend a lot of time comparing the two. I have never noticed any of this!! Thanks, this was fascinating!
Ohhh aren’t you lucky Adrienne! I can’t wait for you to go and visit them again with these ideas and observations!! Let us know what happens 😁