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329:, has her back turned towards the man who stands in front of the door, his legs spread wide and his hands in his pockets. From above, as if contemplating his prize, his gaze is fixed on the woman who, significantly, is seated on an animal-skin rug. Not only is the man's posture reminiscent of Degas's painting, but the woman is also in a comparable pose, her right hand raised to her head, her garment sliding off her shoulder. Even the pictures on the wall and the discarded clothes on the sofa could have inspired Degas.
120:(1834–1917), painted in 1868–1869. Described as "the most puzzling of Degas's major works", it depicts a tense confrontation by lamplight between a man and a partially undressed woman. The theatrical character of the scene has led art historians to seek a literary source for the composition, but none of the sources proposed has met with universal acceptance. Even the painting's title is uncertain; acquaintances of the artist referred to it either as
238:, published in 1867, tells the story of a young orphan whose aunt has forced her to marry her sickly son, Camille Raquin. Thérèse enters into an affair with one of Camille's friends, Laurent, and the two carry out a plot to murder Camille, staging the death to look like an accident. Later, on their wedding night, Thérèse and Laurent find their relationship poisoned by guilt.
250:
A bright fire was burning in the grate, casting golden patches that danced over the ceiling and the walls. The room was thus illuminated by a brilliant, vacillating glow which dimmed the lamp set on a table. Madame Raquin had tried to arrange the room attractively, all white and scented, as though to
295:
In 2007, Felix Krämer published an article in which he took issue with Reff's conclusions. In particular, Krämer wrote of the "critical" discrepancy between the marital bedroom described by Zola and the narrow, single bed in the painting; in addition, the placement of the man's top hat on the bureau
261:
Thérèse was sitting in a low chair, to the right of the fireplace. Chin in hand, she was staring fixedly at the dancing flames, and did not turn her head when
Laurent entered the room. Wearing a lace-edged petticoat and bed-jacket, she looked particularly pale in the bright firelight. Her jacket had
267:
Laurent took a few steps, not speaking. He removed his jacket and vest. In shirtsleeves, he glanced again at Thérèse, who had not stirred. He seemed to hesitate. Then he noticed the pink shoulder, and bent down to press his trembling lips against that bit of bare skin. The young woman pulled her
195:
has been described as "the most theatrical of all Degas's compositions of modern life". Art historians have written of the work's "distinctly stage-managed character: items are arranged as if they are props, while the dramatic lighting increases the impression that a play is being enacted ... In
251:
serve as a nest for young lovers; the old shopkeeper had chosen to add to the bed a few bits of lace and to fill the vases on the mantel with big bouquets of roses. A gentle warmth lingered in the air, with soft odors.
272:
Reff attributed certain elements in the painting that are not mentioned in the text (e.g., the sewing box, and the corset on the floor) to artistic license, and perhaps the influence of a second literary text.
268:
shoulder away, turning around abruptly. She stared at
Laurent with a gaze so strangely mingling repugnance and dread that he stepped back, troubled and uneasy, as if overcome with terror and disgust himself.
220:
was identified as matching the elements of Degas's painting in several particulars—but while the narrow bed and the round table corresponded, the position of the figures relative to each other did not.
196:
addition to the mysterious subject-matter, this stage-like effect is presumably one of the chief reasons why scholars have repeatedly tried to identify a literary source for the painting." Various
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353:, these women lived in hotels and carried their few belongings in small suitcases, always including a sewing kit which was indispensable as the means by which the "
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as a genre painting, and as in the older artist's example, Sickert's depictions of men and women together are marked by dramatic tension and narrative ambiguity.
317:. Gavarni was an artist greatly admired by Degas, who amassed a collection of some 2,000 of Gavarni's lithographs. Points of similarity between the print and
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245:
Laurent carefully closed the door behind him and remained there a moment, leaning against it, staring into the room with an anxious, confused expression.
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241:
The passage that has been deemed to correspond closely to the scene depicted by Degas occurs at the beginning of
Chapter 21 of Zola's novel:
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212:, as a source; the idea was accepted by R.H. Wilenski and others but found unsatisfactory by Duranty experts. Later, a scene within
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128:, and it was under the latter title that Degas exhibited it for the first time in 1905. The painting is housed in the
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in the background suggests that the man has not just entered the room, as
Laurent has in the passage quoted above.
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for exhibition in the Salon of 1869, but it was not shown publicly until June 1905, when it was displayed at
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is a scene depicting prostitution and the aftermath of sexual violence, rather than marital discord.
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172:, which depicted a contemporary scene, in the Salon of 1866. Degas probably intended to submit
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neighborhood of Notre-Dame de la
Lorette, home to many prostitutes. As described in 1841 by
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357:" maintained their appearance. According to Krämer, the prominence given the sewing box in
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painting"), which suggests that he considered the painting anomalous among his works.
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novels have been put forward for consideration. Georges Rivière, a friend of the
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had led him away from his earlier preoccupation with historical subjects such as
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slipped from one shoulder which showed pink through the locks of her black hair.
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Krämer instead proposed as the "most obvious source" of Degas's composition a
234:. This idea has been widely, but not universally, accepted by other scholars.
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in Paris. Degas referred to the work in 1897 as "mon tableau de genre" ("my
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81.3 cm Ă— 114.3 cm (32 in Ă— 45 in)
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361:, together with indications of blood on the bed, bolster the case that
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In 1976, art historian
Theodore Reff published his conjecture that
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677:"Mon tableau de genre': Degas's 'Le Viol' and Gavarni's 'Lorette"
552:
Degas, Sickert, and
Toulouse-Lautrec: London and Paris, 1870–1910
166:(1865). His new direction was apparent by the time he exhibited
581:
Odd Man Out: Readings of the Work and
Reputation of Edgar Degas
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of 1914. In a conversation with
Sickert, Degas described
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has been noted in the compositions of Degas's protégé
599:Baumann, Felix; Karabelnik, Marianne, eds. (1994).
584:. Chicago and London: University of Chicago Press.
695:
619:
550:Robins, Anna Gruetzner; Thomson, Richard, (2005).
598:
1129:
806:Scene from the Steeplechase: The Fallen Jockey
693:
169:Scene from the Steeplechase: The Fallen Jockey
751:
525:Baron, Wendy; Shone, Richard, et al. (1992).
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158:(ca.1860), and the painting which marked his
702:. New York: The Metropolitan Museum of Art.
626:. New York: The Metropolitan Museum of Art.
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144:at a time when his growing commitment to
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656:Gordon, Robert; Forge, Andrew (1988).
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1024:After the Bath, Woman Drying Herself
618:Boggs, Jean Sutherland, ed. (1988).
885:Ballerina Posing for a Photographer
641:Danto, Arthur (December 12, 1988),
287:, plate 5, lithograph published in
210:the Struggle of Francoise Duquesnoy
13:
228:depicts a scene from Zola's novel
14:
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917:Miss La La at the Cirque Fernando
387:series of 1908, and his painting
187:
968:Café-Concert at Les Ambassadeurs
529:, p. 208. New Haven and London:
27:
1059:Little Dancer of Fourteen Years
925:Portraits at the Stock Exchange
853:Ludovic Lepic and His Daughters
822:At the Races in the Countryside
765:
544:
519:
510:
381:, specifically in the latter's
164:Scene of War in the Middle Ages
861:A Cotton Office in New Orleans
501:
492:
483:
480:Gordon and Forge 1988, p. 113.
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453:
441:
404:
1:
1148:Works based on Thérèse Raquin
842:
721:. London: Thames and Hudson.
603:. London: Merrell Holberton.
459:Gordon and Forge 1988, p. 47.
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311:series, published in 1841 in
307:: sheet number five from the
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368:
7:
10:
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838:The Orchestra at the Opera
675:Krämer, Felix (May 2007),
571:
333:Gavarni's print depicts a
150:SĂ©miramis Building Babylon
130:Philadelphia Museum of Art
74:Philadelphia Museum of Art
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1069:
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959:
790:Young Spartans Exercising
773:
717:Thomson, Richard (1988).
660:. New York: H.N. Abrams.
578:Armstrong, Carol (1991).
351:Physiologie de la Lorette
321:are described by Krämer:
155:Young Spartans Exercising
69:
61:
53:
45:
35:
26:
21:
1143:Paintings by Edgar Degas
698:Degas: the artist's mind
798:The Collector of Prints
694:Reff, Theodore (1976).
682:The Burlington Magazine
554:, pp. 196–199. London:
516:Reff 1976, pp. 205–206.
16:Painting by Edgar Degas
384:The Camden Town Murder
341:is a reference to the
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531:Yale University Press
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893:Place de la Concorde
206:Louis Edmond Duranty
1000:Young Woman in Blue
984:Singer with a Glove
782:The Bellelli Family
178:Galerie Durand-Ruel
1094:The Impressionists
933:The Millinery Shop
507:Reff 1976, p. 204.
498:Reff 1976, p. 203.
489:Reff 1976, p. 202.
410:Reff 1976, p. 200.
293:
204:, first suggested
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1077:Marie van Goethem
1040:Ukrainian Dancers
830:The Dancing Class
527:Sickert Paintings
373:The influence of
291:, October 2, 1841
98:), also known as
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909:The Dance Lesson
877:The Ballet Class
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719:Degas, the Nudes
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949:Dancers Onstage
941:Before the Race
869:The Dance Class
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601:Degas Portraits
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1113:(2014 musical)
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379:Walter Sickert
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325:As in Degas's
236:Thérèse Raquin
231:Thérèse Raquin
202:Impressionists
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188:Interpretation
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140:Degas painted
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1110:Little Dancer
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448:Object record
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347:Maurice Alhoy
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152:(1860–1862),
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116:on canvas by
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57:Oil on canvas
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1032:Blue Dancers
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438:Krämer 2007.
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338:
337:; the title
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314:Le Charivari
312:
308:
305:Paul Gavarni
298:
294:
289:Le Charivari
288:
285:Les Lorettes
284:
281:Paul Gavarni
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114:oil painting
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78:Philadelphia
1104:(2009 play)
1027:(1890–1895)
995:(1880–1882)
944:(1882–1884)
936:(1879–1886)
846: 1870
785:(1858–1867)
767:Edgar Degas
118:Edgar Degas
40:Edgar Degas
1132:Categories
1051:Sculptures
901:L'Absinthe
648:The Nation
399:References
335:prostitute
301:lithograph
214:Émile Zola
208:'s novel,
198:Naturalist
136:Background
62:Dimensions
817:(1868–69)
774:Paintings
369:Influence
126:Intérieur
112:), is an
96:Intérieur
49:1868–1869
1102:The Line
814:Interior
393:Interior
375:Interior
363:Interior
359:Interior
355:Lorettes
339:Lorettes
319:Interior
309:Lorettes
226:Interior
193:Interior
174:Interior
142:Interior
101:The Rape
87:Interior
70:Location
22:Interior
1086:Related
1008:The Tub
992:Waiting
960:Pastels
643:"Degas"
572:Sources
327:Le Viol
162:debut,
146:Realism
122:Le Viol
110:Le Viol
1070:Models
1062:(1881)
1035:(1897)
1019:(1886)
1011:(1886)
1003:(1884)
987:(1878)
979:(1877)
971:(1877)
952:(1889)
928:(1879)
920:(1879)
912:(1879)
904:(1876)
896:(1875)
888:(1875)
880:(1874)
872:(1874)
864:(1873)
856:(1871)
833:(1870)
825:(1869)
809:(1866)
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793:(1860)
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706:
689:(1250)
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588:
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537:
106:French
92:French
54:Medium
36:Artist
658:Degas
651:: 658
622:Degas
389:Ennui
343:Paris
182:genre
160:Salon
723:ISBN
704:ISBN
662:ISBN
628:ISBN
605:ISBN
586:ISBN
560:ISBN
556:Tate
535:ISBN
46:Year
687:149
349:in
303:by
256:...
216:'s
124:or
1134::
843:c.
685:,
679:,
645:,
533:.
473:^
415:^
283:,
132:.
108::
94::
76:,
848:)
841:(
759:e
752:t
745:v
731:.
712:.
670:.
636:.
613:.
594:.
541:]
104:(
90:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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