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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.
208:
313:, 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."
152:
188:. 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.
192:"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...."
342:, 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
130:
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
434:
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,
203:
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
142:
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
175:
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."
230:
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
464:
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
234:
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
159:
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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172:. 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
164:, 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
411:
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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375:, 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
445:. 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
382:
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.
333:
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.
430:
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
407:
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.
371:. 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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968:, exhibition catalog from The Metropolitan Museum of Art fully available online as PDF, which contains material on The Bellelli Family (see index)
960:, exhibition catalog from The Metropolitan Museum of Art fully available online as PDF, which contains material on The Bellelli Family (see index)
2950:
1041:
2009:
1385:
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2333:
2290:
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165:
2106:
226:, "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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993:
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893:
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1972:
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1120:
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1806:
1471:
1203:
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127:. 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
259:, 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.
363:, Degas used physical distance to express emotional disconnection between a male and female figure.
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168:. Degas arrived in Florence by 4 August, living with his uncle Gennaro and making studies in the
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1954:
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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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484:. 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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1681:
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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1984:
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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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897:. The Metropolitan Museum of Art, Harper & Row, 1976.
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Summary Execution under the Moorish Kings of Granada
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867:. The Metropolitan Museum of Art, New York, 1988.
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2036:The Gallic Women: Episode from the Roman Invasion
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2315:The Road in Front of Saint-Simeon Farm in Winter
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1042:Scene from the Steeplechase: The Fallen Jockey
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554:
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261:17th-century Dutch genre and portrait painting
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849:Baumann, Felix; Karabelnik, Marianne, et al.
772:
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877:Danto, Arthur (December 12, 1988). "Degas".
2535:Resting by a Stream at the Edge of the Wood
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2951:Objet décoratif carré avec dieux tahitiens
2010:Reception of the Grand Condé at Versailles
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400:The Young Spartan Girls Provoking the Boys
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2839:The Return from Fishing: Hauling the Boat
743:Baumann; Karabelnik; et al. 1994, p. 193.
585:
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2107:Berthe Morisot with a Bouquet of Violets
945:, a video discussion of the painting by
723:
607:Baumann; Karabelnik; et al. 1994, p. 21.
515:
344:
315:
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200:itself, or making preparatory sketches.
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2886:Nature Unveiling Herself Before Science
2062:The Excommunication of Robert the Pious
755:
2997:
2755:Imperial Fritillaries in a Copper Vase
2499:Avenue of Poplars near Moret-sur-Loing
576:
405:The Misfortunes of the City of Orleans
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2529:Regatta at Molesey near Hampton Court
2179:Portrait of Monsieur and Madame Manet
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1405:
1367:
975:
2435:Portrait of the Painter Claude Monet
2285:A Cart on the Snowy Road at Honfleur
2088:The Quai Saint-Michel and Notre-Dame
1973:Self-Portrait with the Yellow Christ
1260:After the Bath, Woman Drying Herself
1121:Ballerina Posing for a Photographer
853:. London: Merrell Holberton, 1994.
13:
2517:Chemin de la Machine, Louveciennes
2373:The Luxembourg Station in Brussels
2173:Portrait of Marguerite de Conflans
530:. The State Hermitage Museum. 2006
14:
3046:
3030:Group portraits by French artists
2815:Portrait of Robert de Montesquiou
2155:The Port of Boulogne by Moonlight
1153:Miss La La at the Cirque Fernando
922:
449:was immediately purchased by the
416:Exhibition history and provenance
2749:Doctor Gachet's Garden in Auvers
2541:Rue de la Chaussée in Argenteuil
1860:Arab Horses Fighting in a Stable
1807:Café-Concert at Les Ambassadeurs
1204:Café-Concert at Les Ambassadeurs
943:Edgar Degas, The Bellelli Family
933:Edgar Degas, The Bellelli Family
27:
1828:Portraits at the Stock Exchange
1295:Little Dancer of Fourteen Years
1161:Portraits at the Stock Exchange
1089:Ludovic Lepic and His Daughters
1058:At the Races in the Countryside
1001:
863:Boggs, Jean Sutherland; et al.
831:
828:Boggs; et al. 1988, pp. 80, 82.
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714:
705:
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2785:Pasteur's portrait by Edelfelt
2547:View of the Canal Saint-Martin
2279:The Artist's Garden at Giverny
2113:Blonde Woman with Bare Breasts
2023:A Session of the Painting Jury
1097:A Cotton Office in New Orleans
803:Boggs; et al. 1988, pp. 79-80.
610:
601:
592:
1:
2423:Frédéric Bazille at his Easel
2185:Portrait of Stéphane Mallarmé
1847:Boabdil's Farewell to Granada
1750:The Romans in their Decadence
1643:Vue de toits (Effet de neige)
1504:The Improvised Field Hospital
1434:
1078:
888:7th Edition" (Pg. 829), 2001.
487:
468:
146:
117:
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459:
7:
2734:Starry Night Over the RhĂ´ne
2609:The Resurrection of Lazarus
2399:Bal du moulin de la Galette
1979:Tahitian Women on the Beach
1930:A Studio at Les Batignolles
1668:Portrait of Gustave Geffroy
911:. Rizzoli, New York, 1986.
218:of Laura Bellelli's hands.
10:
3051:
2441:Portrait of William Sisley
2309:Resting Under a Lilac Bush
2260:Shepherdess with her Flock
1822:The Orchestra at the Opera
1542:Ploughing in the Nivernais
1074:The Orchestra at the Opera
909:Edgar Degas: Life and Work
843:
819:Boggs; et al. 1988, p. 77.
693:Boggs; et al. 1988, p. 82.
644:Boggs; et al. 1988, p. 79.
628:Boggs; et al. 1988, p. 23.
573:Boggs; et al. 1988, p. 80.
551:Boggs; et al. 1988, p. 51.
512:Boggs; et al. 1988, p. 81.
263:, the portrait studies of
179:
2974:
2899:Woman Bitten by a Serpent
2867:
2856:
2824:
2794:
2770:
2698:
2674:
2631:
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2523:The Forge at Marly-le-Roi
2143:Madame Manet at the Piano
2131:Flowers in a Crystal Vase
1611:Three Women with Parasols
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1026:Young Spartans Exercising
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123:–1867, and housed in the
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26:
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3010:Portraits by Edgar Degas
1961:The Schuffenecker Family
1637:Les raboteurs de parquet
957:Degas: The Artist's Mind
894:Degas: The Artist's Mind
785:Reff. 1976, pp. 216-217.
616:Sutton. 1986, pp. 39-40.
3035:Oil on canvas paintings
2665:What is Called Vagrancy
2291:Le DĂ©jeuner sur l'herbe
2125:Le DĂ©jeuner sur l'herbe
1918:The Corner of the Table
1529:Pilgrims going to Mecca
1034:The Collector of Prints
329:, 1656. Oil on canvas.
243:Composition and content
16:Painting by Edgar Degas
2740:Portrait of Dr. Gachet
2553:The Village of Voisins
2511:The Canal Saint-Martin
2216:Luxe, Calme et Volupté
2167:Portrait of Emile Zola
2161:Portrait of Clemenceau
1967:Self-Portrait in a Hat
1656:The Hanged Man's House
776:Reff. 1976, pp. 96-97.
662:Reff. 1976, pp. 26-27.
364:
334:
301:, and a lithograph by
298:After Dinner at Ornans
227:
194:
156:
3015:Paintings of children
2646:Sailboats and Estuary
2303:Regatta at Argenteuil
2229:French Campaign, 1814
1573:Equality Before Death
348:
319:
224:Jean Sutherland Boggs
210:
190:
155:Oil sketch of Giulia.
154:
116:(1834–1917), painted
2728:The Church at Auvers
2689:The Wheel of Fortune
2417:Dance in the Country
2360:The Fiancée of Belus
2197:A Sprig of Asparagus
1955:Breton Peasant Women
1725:The Painter's Studio
1129:Place de la Concorde
837:Sutton, 1986, p. 44.
794:Sutton. 1986, p. 44.
720:Reff. 1976, p. 95-96
653:Sutton. 1986, p. 40.
598:Sutton. 1986, p. 43.
528:"Exhibition Archive"
453:for 400,000 francs.
284:Family of Charles IV
3020:Paintings of people
2980:Musée des Augustins
2321:Women in the Garden
1949:The Beautiful Angel
1924:Homage to Delacroix
1801:The Bellelli Family
1472:In the Conservatory
1236:Young Woman in Blue
1220:Singer with a Glove
1018:The Bellelli Family
939:The Bellelli Family
752:Danto 1988, p. 658.
734:Reff. 1976, p. 216.
702:Reff. 1976, p. 143.
476:The Bellelli Family
451:Musée du Luxembourg
447:The Bellelli Family
439:The Bellelli Family
432:Jean-Jacques Henner
423:The Bellelli Family
409:The Bellelli Family
380:The Bellelli Family
361:The Bellelli Family
359:, 1868-1869. As in
277:, the portraits of
198:The Bellelli Family
186:The Bellelli Family
99:The Bellelli Family
22:The Bellelli Family
2978:On display at the
2925:Virgin with a Lily
2809:Madame Charles Max
2505:The Canal du Loing
2429:Girls at the Piano
2235:The Siege of Paris
1719:L'Origine du monde
1713:A Burial at Ornans
1694:The Poor Fisherman
1624:The Birth of Venus
1555:The Birth of Venus
1498:The Family Reunion
1330:The Impressionists
1169:The Millinery Shop
764:Reff. 1976, p. 97.
711:Reff. 1976, p. 27.
671:Reff. 1976, p. 48.
421:project; probably
365:
335:
228:
166:Revolution of 1848
157:
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2622:Whistler's Mother
2460:The Snake Charmer
2411:Dance in the City
1873:Homage to CĂ©zanne
1700:The Turtle Seller
1605:The Lady in White
1425:
1424:
1361:
1360:
1313:Marie van Goethem
1276:Ukrainian Dancers
1066:The Dancing Class
589:Reff. 1976, p. 95
307:A Man of Property
95:
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2719:Bedroom in Arles
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2640:van Rysselberghe
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2560:Toulouse-Lautrec
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2019:
1994:
1939:
1912:Around the Piano
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1731:Le ruisseau noir
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1662:The Card Players
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1567:Dante and Virgil
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1516:Bazille's Studio
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303:Honoré Daumier
289:Francisco Goya
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1417:Gare d'Orsay
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1268:Blue Dancers
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532:. Retrieved
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336:
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279:Hans Holbein
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135:, living in
129:
110:oil painting
104:
103:
98:
97:
96:
3025:Dogs in art
2919:Delaplanche
2683:Burne-Jones
2572:La Toilette
2405:The Bathers
2248:The Angelus
2191:The Reading
2101:The Balcony
1763:The Harvest
1631:Caillebotte
1599:Bracquemond
1579:Les Oréades
1340:(2009 play)
1263:(1890–1895)
1231:(1880–1882)
1180:(1882–1884)
1172:(1879–1886)
1082: 1870
1021:(1858–1867)
1003:Edgar Degas
373:Renaissance
331:Las Meninas
322:Las Meninas
311:Las Meninas
274:Las Meninas
237:Paris Salon
121: 1858
114:Edgar Degas
40:Edgar Degas
2999:Categories
2938:Rhinocéros
2932:Jacquemart
2862:Sculptures
2486:The Circus
2347:The Cradle
2297:The Magpie
2223:Meissonier
2049:The Source
1899:The Enigma
1795:L'Absinthe
1675:Chassériau
1549:Bouguereau
1466:Bartholomé
1287:Sculptures
1137:L'Absinthe
879:The Nation
488:References
469:Assessment
257:Botticelli
216:oil sketch
204:armchair.
147:Background
74:Dimensions
2893:Clésinger
2447:The Swing
2137:The Fifer
2119:Bullfight
2075:The Truth
2004:Jerusalem
1985:Vairumati
1886:The Dream
1854:Delacroix
1841:Dehodencq
1586:Boulanger
1485:Haymaking
1435:Paintings
1053:(1868–69)
1010:Paintings
534:March 19,
460:Condition
305:entitled
269:Velázquez
253:Giorgione
239:of 1867.
49:1858–1867
2984:Toulouse
2779:Edelfelt
2707:van Gogh
2659:The Bath
2616:Whistler
2596:Solitude
2590:Harrison
2582:American
2467:SĂ©rusier
2454:Rousseau
2380:Regnault
2069:Lefebvre
1880:Detaille
1757:Daubigny
1561:La Danse
1407:Building
1338:The Line
1050:Interior
393:The Rape
355:The Rape
309:. As in
137:Florence
108:, is an
82:Location
63:Movement
2948::
2945:Gauguin
2935::
2922::
2909::
2906:Claudel
2896::
2883::
2880:Barrias
2836::
2833:Sorolla
2825:Spanish
2806::
2803:Boldini
2795:Italian
2782::
2771:Finnish
2710::
2686::
2675:British
2656::
2653:Stevens
2643::
2632:Belgian
2619::
2606::
2593::
2563::
2496::
2483::
2470::
2457::
2396::
2383::
2370::
2367:Ottmann
2357::
2344::
2341:Morisot
2331::
2276::
2245::
2226::
2213::
2210:Matisse
2149:Olympia
2098::
2085::
2072::
2059::
2056:Laurens
2046::
2033::
2020::
1995::
1943:Arearea
1940::
1937:Gauguin
1909::
1896::
1883::
1870::
1857::
1844::
1834:The Tub
1792::
1773::
1770:Daumier
1760::
1747::
1744:Couture
1710::
1707:Courbet
1691::
1678::
1653::
1650:CĂ©zanne
1634::
1621::
1618:Cabanel
1602::
1589::
1552::
1539::
1536:Bonheur
1526::
1495::
1492:Bazille
1482::
1469::
1459:Remorse
1456::
1322:Related
1244:The Tub
1228:Waiting
1196:Pastels
844:Sources
384:Sulking
369:Clouets
180:Process
68:Realism
2872:French
2603:Tanner
2566:Le Lit
2493:Sisley
2480:Seurat
2393:Renoir
2328:Moreau
2242:Millet
2043:Ingres
2030:Glaize
2017:Gervex
1992:GĂ©rĂ´me
1811:(1885)
1453:Baader
1445:French
1306:Models
1298:(1881)
1271:(1897)
1255:(1886)
1247:(1886)
1239:(1884)
1223:(1878)
1215:(1877)
1207:(1877)
1188:(1889)
1164:(1879)
1156:(1879)
1148:(1879)
1140:(1876)
1132:(1875)
1124:(1875)
1116:(1874)
1108:(1874)
1100:(1873)
1092:(1871)
1069:(1870)
1061:(1869)
1045:(1866)
1037:(1866)
1029:(1860)
915:
901:
881:: 658.
871:
857:
281:, the
265:Ingres
255:, and
222:. For
170:Uffizi
162:Naples
133:Naples
54:Medium
36:Artist
2957:Oviri
2699:Dutch
2354:Motte
2273:Monet
2095:Manet
1867:Denis
1789:Degas
1523:Belly
865:Degas
214:, an
90:Paris
2082:Luce
1893:Doré
913:ISBN
899:ISBN
869:ISBN
855:ISBN
536:2009
403:and
386:and
46:Year
2982:in
295:'s
287:by
271:'s
3001::
2954:–
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2110:–
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2007:–
2001:–
1982:–
1976:–
1970:–
1964:–
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1952:–
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1079:c.
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118:c.
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