Throughout his entire career, from his debut in the 1860s up to his final works after 1900, the Opera formed the focal point of Degas’ output. It was his “own room”. He explored the theatre’s various spaces - auditorium and stage, boxes, foyers, and dance studios - and followed those who frequented them: dancers, singers, orchestral musicians, audience members, and black-attired subscribers lurking in the wings. This closed world presented a microcosm of infinite possibilities allowing all manner of experimentations: multiple points of view, contrasts of lighting, the study of motion and the precision of movement.
Image: Edgar DegasThe Orchestra at the Opera© RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski
Throughout his entire career, from his debut in the 1860s up to his final works after 1900, the Opera formed the focal point of Degas’ output. It was his “own room”. He explored the theatre’s various spaces - auditorium and stage, boxes, foyers, and dance studios - and followed those who frequented them: dancers, singers, orchestral musicians, audience members, and black-attired subscribers lurking in the wings. This closed world presented a microcosm of infinite possibilities allowing all manner of experimentations: multiple points of view, contrasts of lighting, the study of motion and the precision of movement.
Edgar DegasThe Orchestra at the Opera© RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski
This is the first exhibition to consider the Opera as a whole, examining not only Degas’ passionate relationship with the House and his musical tastes, but also the infinite resources of this marvellous ‘toolbox’. The work of a truly great artist offers us the portrait of the Paris Opera in the 19th century.
Musee d'Orsay, Paris, 24 September 2019, 19 January, 2020
Anna Melnykova, "Palace of Labor (palats praci), architector I. Pretro, 1916", shot with analog Canon camera, 35 mm Fuji film in March 2022.
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