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figures suggestive of the parents' alienation from one another, and of the divided loyalties of their children. Laura
Bellelli stands as if for an official portrait, her expression indicative of her unhappiness, one hand resting protectively on Giovanna's shoulder, the other balancing her pregnant body; Giulia, in the center of the painting and seated in a small chair, displays youthful restlessness as she faces, arms akimbo, in the direction of her father, and is the compositional link between her estranged parents. Gennaro appears indifferent, turned toward but seated apart from his family, his face mostly in shadow. The commanding figure of Laura is placed against a flat wall and a crisp picture frame, while Gennaro's more recessive figure is framed by a mantelpiece, bric-a-brac, and a reflective mirror. The clarity of the former's surroundings and the ambiguity of the latter's have been interpreted as expressive of their emotional distance. Telling, also, is the physical distance between them, as well as the difference in their postures. Their opposition has been seen as a "breaking of the frame": "it is as if were morosely watching his family as they pose for his painter nephew". The family dog glimpsed at the lower right corner is, according to
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sketches and studies and painted the picture in a studio procured for this purpose in Paris. Supporting this conclusion is the observation that the
Bellelli's apartment was too small to host such a large work, and there were no studio facilities. In March 1860, Degas returned to Italy, in part to conduct family business, and in April he again visited the Bellellis and made several drawings of his uncle; at some point he also executed a pastel which, but for some differences in details and a greater elaboration of the interior in the final painting, is close to the ultimate composition.
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Laura subsequently confided to Degas that, living in exile, she missed her
Neapolitan family, and further, that her husband was "immensely disagreeable and dishonest... Living with Gennaro, whose detestable nature you know and who has no serious occupation, shall soon lead me to the grave." Laura Bellelli was pregnant at the time, and it has been suggested that this circumstance, and the subsequent death of the child in infancy, may have contributed to her unhappiness and to domestic tensions in general. These conflicts would provide both background and content for the painting.
219:
324:, a picture, mirror, and doorway are used to expand the space of the interior. Any and all historical models were synthesized into a composition that was "unique in the painter's oeuvre and unique among the works of his contemporaries." Taking Degas' family and their living environment as its subject, the painting represented Degas' first attempt "to characterize a room in relation to the personalities and interests of the individuals who inhabit it."
163:
199:. It appears that he initially planned to paint a vertical composition depicting his aunt and her two daughters in a pyramidical grouping. He painted his cousins in their black dresses and white pinafores, while his father wrote letters from Paris, offering advice on how best to proceed with the project, and impatiently awaited his return. Degas wrote of Giulia and Giovanna:
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restored the painting, sewing up tears, applying gesso to them, repainting Laura
Bellelli's face, and retouching those of his uncle and cousins. However, prior to the painting's sale a restorer apparently misinterpreted these repairs and scraped them off, re-injuring the portraits of Gennaro and Giulia. The painting was subsequently restored in the 1980s.
203:"The elder one was in fact a little beauty. The younger one, on the other hand, was smart as can be and kind as an angel. I am painting them in mourning dress and small white aprons, which suit them very well…I would like to express a certain natural grace together with a nobility that I don't know how to define...."
353:, sensibly "sneaking out of the picture before all hell breaks loose". One is reminded of Laura Bellelli's note to Degas after he had returned to Paris: "You must be very happy to be with your family again, instead of being in the presence of a sad face like mine and a disagreeable one like my husband's."
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The painting was almost certainly conceived as an exhibition piece, for it is doubtful that Degas would have painted something so ambitious in scale for purely private satisfaction. In April 1859 Degas wrote his father asking him to look for a studio in Paris so that he could work on an unspecified
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Viewed alongside the work of Degas' contemporaries, the painting's uniqueness was due in large part to the composition, which presents a family portrait painted on the grand scale of a historical drama, and whose content has been interpreted as psychologically penetrating, with the placement of the
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While finishing his artistic training in Italy, Degas drew and painted his aunt Laura, her husband the baron
Gennaro Bellelli (1812–1864), and their daughters Giulia and Giovanna. Although it is not known for certain when or where Degas executed the painting, it is believed that he utilized studies
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discussed Degas' withdrawal from the Salons because his work was badly hung and ignored as a result, adding "The portrait of his brother-in-law (I believe) and his family is a great work"; and the fact that Degas requested permission at the last minute to retouch his submissions to the 1867 Salon,
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The preparatory works include portrait studies and compositional details in pencil, pastel, and oil. One drawing indicates Degas' initial intention to have
Gennaro Bellelli seated at the end of the table, and an oil sketch placed him standing behind his daughters; finally, Degas painted him in the
153:
Laura
Bellelli's countenance is dignified and austere, her gesture connected with those of her daughters. Her husband, by contrast, appears to be separated from his family. His association with business and the outside world is implied by his position at his desk. Giulia holds a livelier pose than
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That there were strains within the
Bellelli household at the time was almost certainly noticed by Degas, and confirmed by another uncle: "The domestic life of the family in Florence is a source of unhappiness for us. As I predicted, one of them is very much at fault and our sister a little, too."
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In late March 1859, Degas left
Florence to return to Paris. Other than the conclusion that Degas worked on the picture "for several years", there is no documentation to confirm the actual time or place at which the picture was painted; a likely scenario is that Degas brought to France numerous
475:
At the time of its sale in 1918, the painting was in poor condition. In addition to the black streaks and crackling, it had tears and was dust-covered, and may have been kept by Degas for many years rolled-up in the corner of his successive studios. At some point, possibly in the 1890s, Degas
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There is a family account, once accepted but more recently deemed unlikely, that offers a different version: a
Neapolitan lawyer who married one of Degas' grandnieces claimed that the painting was completed in Italy, and brought back to France only some forty to fifty years later, but this is
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In 1856 Degas left his home in Paris to study art and visit family relations in Italy, arriving in Naples on 17 July. In 1857 he traveled between Naples, where he stayed with his grandfather, Hilaire Degas, and Rome. At the end of July 1858 Laura Bellelli wrote to Degas from
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done in Italy to complete the work after his return to Paris. Laura, his father's sister, is depicted in a dress which symbolizes mourning for her father, who had recently died and appears in the framed portrait behind her. The baron was an Italian patriot exiled from
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When exhibited at the sale of Degas' atelier in 1918, the picture elicited some confusion from critics; one called it "as dull as a Flemish interior, although the dry technique is distinctive." Most of the reviews were positive, and with the country at war,
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183:. By September he had become bored, did not get along well with Gennaro, and remained only to see Laura, Giovanna, and Giulia, who had prolonged their stay in Naples following the death of Degas' grandfather Hilaire on 31 August.
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was the work he had in mind, and it is believed that the painting was eventually exhibited in the Salon of 1867. Although reviews made no mention of the picture, that this is the painting which Degas exhibited under the title of
175:, inviting him to stay with her in Florence; it was there that Gennaro Bellelli, who had been a political journalist supporting the fight for Italy's independence, took refuge from Austrian persecution after defeat of the
422:
is notable for introducing psychological conflict in a painting that documents his own family. Given his usual discretion, it is reasonable to assume that such expressions were the product of Degas' unconscious mind.
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386:, that of including ancestral effigies. By its very placement Degas was implicitly affirming his own presence and identifying with Laura, with whom, as their correspondence attests, he was unusually close.
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The drawing hung on the wall behind them is a portrait of the recently deceased Hilaire Degas, and was presumably a study for the portraits Degas made of his grandfather, drawn in the style of the
456:. The painting was not seen again publicly until after Degas's death, when it was put up for sale in 1918 as part of the painter's estate. Its unexpected appearance created a sensation, and
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was not an anomaly, nor were such tensions revealed solely through the study of portraiture; in fact, alienation between the sexes was a recurring condition in Degas' work of the 1860s.
344:
may have inspired Degas to extend the space of the apartment by employing some of the same elements: here, too, a picture, a doorway, and a reflected image are prominent.
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is supported by several pieces of evidence: a critic who later visited Degas in his studio referred to "the admirable Family Portrait of 1867"; in 1881 the painter
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occur in the ancient and medieval eras, yet in each "the element of hostility between the sexes is apparent", and in the latter the hostility has turned deadly.
382:. By placing it directly behind his aunt's head, Degas was connecting the generations of his family, and following a convention of portraiture used since the
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At year's end, Degas stopped work on the double portrait of his young cousins in order to begin a larger painting; it is unclear whether he was undertaking
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979:, exhibition catalog from The Metropolitan Museum of Art fully available online as PDF, which contains material on The Bellelli Family (see index)
971:, exhibition catalog from The Metropolitan Museum of Art fully available online as PDF, which contains material on The Bellelli Family (see index)
2961:
1052:
2020:
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237:, "the hands of the Bellellis play like the hands of mimes to give an indication of the relative composure of each family member."
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After his aunt and cousins returned in early November 1858, Degas undertook a series of works that would eventually culminate in
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In 1947 the painting was exhibited in the Musée d'Impressionisme (Jeu-de-Paumes), and subsequently moved to the Musée d'Orsay.
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138:. A masterwork of Degas' youth, the painting is a portrait of his aunt, her husband, and their two young daughters.
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Impressionism : a centenary exhibition, the Metropolitan Museum of Art, December 12, 1974-February 10, 1975
270:, among others. Other prototypes whose influence have been cited, particularly in terms of composition, include
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The work of many artists provided inspiration: at this time Degas included in his correspondence mention of
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was seen as possessing a distinctly French character, a "modern primitive" that bore comparison to the
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and that the hasty reworking would account for the picture's later crackling and blackish streaks.
374:, Degas used physical distance to express emotional disconnection between a male and female figure.
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179:. Degas arrived in Florence by 4 August, living with his uncle Gennaro and making studies in the
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remained with Degas until his last move in 1913, at which time he left it with his dealer,
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that of her sister Giovanna, whose restraint appears to underscore the familial tensions.
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495:. Since then, biographers of Degas have acknowledged it as the masterpiece of his youth.
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Répétition du "Joueur de flûte" et de "La femme de Diomède" chez le prince Napoléon
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Arab Chiefs Challenging each other to Single Combat under the Ramparts of a City
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200 cm Ă— 253 cm (79 in Ă— 100 in)
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are both works of ambiguous content set in contemporary Paris, and
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contradicted by evidence that the painting was exhibited in the
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908:. The Metropolitan Museum of Art, Harper & Row, 1976.
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Summary Execution under the Moorish Kings of Granada
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878:. The Metropolitan Museum of Art, New York, 1988.
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2047:The Gallic Women: Episode from the Roman Invasion
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2326:The Road in Front of Saint-Simeon Farm in Winter
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1053:Scene from the Steeplechase: The Fallen Jockey
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272:17th-century Dutch genre and portrait painting
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860:Baumann, Felix; Karabelnik, Marianne, et al.
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888:Danto, Arthur (December 12, 1988). "Degas".
2546:Resting by a Stream at the Edge of the Wood
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2962:Objet décoratif carré avec dieux tahitiens
2021:Reception of the Grand Condé at Versailles
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411:The Young Spartan Girls Provoking the Boys
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2850:The Return from Fishing: Hauling the Boat
754:Baumann; Karabelnik; et al. 1994, p. 193.
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2118:Berthe Morisot with a Bouquet of Violets
956:, a video discussion of the painting by
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618:Baumann; Karabelnik; et al. 1994, p. 21.
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211:itself, or making preparatory sketches.
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2897:Nature Unveiling Herself Before Science
2073:The Excommunication of Robert the Pious
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14:
3008:
2766:Imperial Fritillaries in a Copper Vase
2510:Avenue of Poplars near Moret-sur-Loing
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416:The Misfortunes of the City of Orleans
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2871:
2540:Regatta at Molesey near Hampton Court
2190:Portrait of Monsieur and Madame Manet
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986:
2446:Portrait of the Painter Claude Monet
2296:A Cart on the Snowy Road at Honfleur
2099:The Quai Saint-Michel and Notre-Dame
1984:Self-Portrait with the Yellow Christ
1271:After the Bath, Woman Drying Herself
1132:Ballerina Posing for a Photographer
864:. London: Merrell Holberton, 1994.
24:
2528:Chemin de la Machine, Louveciennes
2384:The Luxembourg Station in Brussels
2184:Portrait of Marguerite de Conflans
541:. The State Hermitage Museum. 2006
25:
3057:
3041:Group portraits by French artists
2826:Portrait of Robert de Montesquiou
2166:The Port of Boulogne by Moonlight
1164:Miss La La at the Cirque Fernando
933:
460:was immediately purchased by the
427:Exhibition history and provenance
2760:Doctor Gachet's Garden in Auvers
2552:Rue de la Chaussée in Argenteuil
1871:Arab Horses Fighting in a Stable
1818:Café-Concert at Les Ambassadeurs
1215:Café-Concert at Les Ambassadeurs
954:Edgar Degas, The Bellelli Family
944:Edgar Degas, The Bellelli Family
38:
1839:Portraits at the Stock Exchange
1306:Little Dancer of Fourteen Years
1172:Portraits at the Stock Exchange
1100:Ludovic Lepic and His Daughters
1069:At the Races in the Countryside
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874:Boggs, Jean Sutherland; et al.
842:
839:Boggs; et al. 1988, pp. 80, 82.
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2796:Pasteur's portrait by Edelfelt
2558:View of the Canal Saint-Martin
2290:The Artist's Garden at Giverny
2124:Blonde Woman with Bare Breasts
2034:A Session of the Painting Jury
1108:A Cotton Office in New Orleans
814:Boggs; et al. 1988, pp. 79-80.
621:
612:
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13:
1:
2434:Frédéric Bazille at his Easel
2196:Portrait of Stéphane Mallarmé
1858:Boabdil's Farewell to Granada
1761:The Romans in their Decadence
1654:Vue de toits (Effet de neige)
1515:The Improvised Field Hospital
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1089:
899:7th Edition" (Pg. 829), 2001.
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7:
2745:Starry Night Over the RhĂ´ne
2620:The Resurrection of Lazarus
2410:Bal du moulin de la Galette
1990:Tahitian Women on the Beach
1941:A Studio at Les Batignolles
1679:Portrait of Gustave Geffroy
922:. Rizzoli, New York, 1986.
229:of Laura Bellelli's hands.
10:
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2452:Portrait of William Sisley
2320:Resting Under a Lilac Bush
2271:Shepherdess with her Flock
1833:The Orchestra at the Opera
1553:Ploughing in the Nivernais
1085:The Orchestra at the Opera
920:Edgar Degas: Life and Work
854:
830:Boggs; et al. 1988, p. 77.
704:Boggs; et al. 1988, p. 82.
655:Boggs; et al. 1988, p. 79.
639:Boggs; et al. 1988, p. 23.
584:Boggs; et al. 1988, p. 80.
562:Boggs; et al. 1988, p. 51.
523:Boggs; et al. 1988, p. 81.
274:, the portrait studies of
190:
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2910:Woman Bitten by a Serpent
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2534:The Forge at Marly-le-Roi
2154:Madame Manet at the Piano
2142:Flowers in a Crystal Vase
1622:Three Women with Parasols
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1037:Young Spartans Exercising
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134:–1867, and housed in the
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3021:Portraits by Edgar Degas
1972:The Schuffenecker Family
1648:Les raboteurs de parquet
968:Degas: The Artist's Mind
905:Degas: The Artist's Mind
796:Reff. 1976, pp. 216-217.
627:Sutton. 1986, pp. 39-40.
3046:Oil on canvas paintings
2676:What is Called Vagrancy
2302:Le DĂ©jeuner sur l'herbe
2136:Le DĂ©jeuner sur l'herbe
1929:The Corner of the Table
1540:Pilgrims going to Mecca
1045:The Collector of Prints
340:, 1656. Oil on canvas.
254:Composition and content
27:Painting by Edgar Degas
2751:Portrait of Dr. Gachet
2564:The Village of Voisins
2522:The Canal Saint-Martin
2227:Luxe, Calme et Volupté
2178:Portrait of Emile Zola
2172:Portrait of Clemenceau
1978:Self-Portrait in a Hat
1667:The Hanged Man's House
787:Reff. 1976, pp. 96-97.
673:Reff. 1976, pp. 26-27.
375:
345:
312:, and a lithograph by
309:After Dinner at Ornans
238:
205:
167:
3026:Paintings of children
2657:Sailboats and Estuary
2314:Regatta at Argenteuil
2240:French Campaign, 1814
1584:Equality Before Death
359:
330:
235:Jean Sutherland Boggs
221:
201:
166:Oil sketch of Giulia.
165:
127:(1834–1917), painted
2739:The Church at Auvers
2700:The Wheel of Fortune
2428:Dance in the Country
2371:The Fiancée of Belus
2208:A Sprig of Asparagus
1966:Breton Peasant Women
1736:The Painter's Studio
1140:Place de la Concorde
848:Sutton, 1986, p. 44.
805:Sutton. 1986, p. 44.
731:Reff. 1976, p. 95-96
664:Sutton. 1986, p. 40.
609:Sutton. 1986, p. 43.
539:"Exhibition Archive"
464:for 400,000 francs.
295:Family of Charles IV
3031:Paintings of people
2991:Musée des Augustins
2332:Women in the Garden
1960:The Beautiful Angel
1935:Homage to Delacroix
1812:The Bellelli Family
1483:In the Conservatory
1247:Young Woman in Blue
1231:Singer with a Glove
1029:The Bellelli Family
950:The Bellelli Family
763:Danto 1988, p. 658.
745:Reff. 1976, p. 216.
713:Reff. 1976, p. 143.
487:The Bellelli Family
462:Musée du Luxembourg
458:The Bellelli Family
450:The Bellelli Family
443:Jean-Jacques Henner
434:The Bellelli Family
420:The Bellelli Family
391:The Bellelli Family
372:The Bellelli Family
370:, 1868-1869. As in
288:, the portraits of
209:The Bellelli Family
197:The Bellelli Family
110:The Bellelli Family
33:The Bellelli Family
2989:On display at the
2936:Virgin with a Lily
2820:Madame Charles Max
2516:The Canal du Loing
2440:Girls at the Piano
2246:The Siege of Paris
1730:L'Origine du monde
1724:A Burial at Ornans
1705:The Poor Fisherman
1635:The Birth of Venus
1566:The Birth of Venus
1509:The Family Reunion
1341:The Impressionists
1180:The Millinery Shop
775:Reff. 1976, p. 97.
722:Reff. 1976, p. 27.
682:Reff. 1976, p. 48.
432:project; probably
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239:
177:Revolution of 1848
168:
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2633:Whistler's Mother
2471:The Snake Charmer
2422:Dance in the City
1884:Homage to CĂ©zanne
1711:The Turtle Seller
1616:The Lady in White
1436:
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1371:
1324:Marie van Goethem
1287:Ukrainian Dancers
1077:The Dancing Class
600:Reff. 1976, p. 95
318:A Man of Property
106:
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16:(Redirected from
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2730:Bedroom in Arles
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2651:van Rysselberghe
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2571:Toulouse-Lautrec
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1923:Around the Piano
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1742:Le ruisseau noir
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1673:The Card Players
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1578:Dante and Virgil
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1527:Bazille's Studio
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146:, living in
140:
121:oil painting
115:
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109:
108:
107:
3036:Dogs in art
2930:Delaplanche
2694:Burne-Jones
2583:La Toilette
2416:The Bathers
2259:The Angelus
2202:The Reading
2112:The Balcony
1774:The Harvest
1642:Caillebotte
1610:Bracquemond
1590:Les Oréades
1351:(2009 play)
1274:(1890–1895)
1242:(1880–1882)
1191:(1882–1884)
1183:(1879–1886)
1093: 1870
1032:(1858–1867)
1014:Edgar Degas
384:Renaissance
342:Las Meninas
333:Las Meninas
322:Las Meninas
285:Las Meninas
248:Paris Salon
132: 1858
125:Edgar Degas
51:Edgar Degas
3010:Categories
2949:Rhinocéros
2943:Jacquemart
2873:Sculptures
2497:The Circus
2358:The Cradle
2308:The Magpie
2234:Meissonier
2060:The Source
1910:The Enigma
1806:L'Absinthe
1686:Chassériau
1560:Bouguereau
1477:Bartholomé
1298:Sculptures
1148:L'Absinthe
890:The Nation
499:References
480:Assessment
268:Botticelli
227:oil sketch
215:armchair.
158:Background
85:Dimensions
2904:Clésinger
2458:The Swing
2148:The Fifer
2130:Bullfight
2086:The Truth
2015:Jerusalem
1996:Vairumati
1897:The Dream
1865:Delacroix
1852:Dehodencq
1597:Boulanger
1496:Haymaking
1446:Paintings
1064:(1868–69)
1021:Paintings
545:March 19,
471:Condition
316:entitled
280:Velázquez
264:Giorgione
250:of 1867.
60:1858–1867
2995:Toulouse
2790:Edelfelt
2718:van Gogh
2670:The Bath
2627:Whistler
2607:Solitude
2601:Harrison
2593:American
2478:SĂ©rusier
2465:Rousseau
2391:Regnault
2080:Lefebvre
1891:Detaille
1768:Daubigny
1572:La Danse
1418:Building
1349:The Line
1061:Interior
404:The Rape
366:The Rape
320:. As in
148:Florence
119:, is an
93:Location
74:Movement
18:Bellelli
2959::
2956:Gauguin
2946::
2933::
2920::
2917:Claudel
2907::
2894::
2891:Barrias
2847::
2844:Sorolla
2836:Spanish
2817::
2814:Boldini
2806:Italian
2793::
2782:Finnish
2721::
2697::
2686:British
2667::
2664:Stevens
2654::
2643:Belgian
2630::
2617::
2604::
2574::
2507::
2494::
2481::
2468::
2407::
2394::
2381::
2378:Ottmann
2368::
2355::
2352:Morisot
2342::
2287::
2256::
2237::
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2221:Matisse
2160:Olympia
2109::
2096::
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2067:Laurens
2057::
2044::
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2006::
1954:Arearea
1951::
1948:Gauguin
1920::
1907::
1894::
1881::
1868::
1855::
1845:The Tub
1803::
1784::
1781:Daumier
1771::
1758::
1755:Couture
1721::
1718:Courbet
1702::
1689::
1664::
1661:CĂ©zanne
1645::
1632::
1629:Cabanel
1613::
1600::
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1547:Bonheur
1537::
1506::
1503:Bazille
1493::
1480::
1470:Remorse
1467::
1333:Related
1255:The Tub
1239:Waiting
1207:Pastels
855:Sources
395:Sulking
380:Clouets
191:Process
79:Realism
2883:French
2614:Tanner
2577:Le Lit
2504:Sisley
2491:Seurat
2404:Renoir
2339:Moreau
2253:Millet
2054:Ingres
2041:Glaize
2028:Gervex
2003:GĂ©rĂ´me
1822:(1885)
1464:Baader
1456:French
1317:Models
1309:(1881)
1282:(1897)
1266:(1886)
1258:(1886)
1250:(1884)
1234:(1878)
1226:(1877)
1218:(1877)
1199:(1889)
1175:(1879)
1167:(1879)
1159:(1879)
1151:(1876)
1143:(1875)
1135:(1875)
1127:(1874)
1119:(1874)
1111:(1873)
1103:(1871)
1080:(1870)
1072:(1869)
1056:(1866)
1048:(1866)
1040:(1860)
926:
912:
892:: 658.
882:
868:
292:, the
276:Ingres
266:, and
233:. For
181:Uffizi
173:Naples
144:Naples
65:Medium
47:Artist
2968:Oviri
2710:Dutch
2365:Motte
2284:Monet
2106:Manet
1878:Denis
1800:Degas
1534:Belly
876:Degas
225:, an
101:Paris
2093:Luce
1904:Doré
924:ISBN
910:ISBN
880:ISBN
866:ISBN
547:2009
414:and
397:and
57:Year
2993:in
306:'s
298:by
282:'s
3012::
2965:–
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1090:c.
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129:c.
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402:(
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364:(
20:)
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