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The following human body of work focuses upon Realism and the designers, Manet (ofcourse not to be mistaken for Monet) and Degas, two Parisian performers of the 1800s who captured the lives of the France people through their works of art. Realism’s definition, really three determining characteristics, as well as place in the time line of artwork history will probably be briefly offered, moving into the similarities and differences, including mediums used in the artists’ works and the subjects of focus, discovered between Manet and Degas, in regards to their very own life’s interest as artists of the 19th century. Brief summaries of each artist’s life can precede comparison of two chosen “famous works to compare the performers manifested passions for the effort each created.


Realism is a style of piece of art which depicts subject matter-form, color, space-as it appears in actuality or normal visual experience without contortion or stylization (progressiveart. com). Through realism, subject matter are represented in since straightforward a manner as possible, with out idealizing all of them and without next rules of formal artistic theory (artcyclopedia. com). Little emotional value can be depicted, because the artist shows characteristics and people only the way they observes them (horton. ednet).

Realism started to appear on the art scene in the eighteenth century, following a styles of Romanticism and Neoclassicism, French realistic look, in particular, was considered the leading influence for the philosophy of Impressionists (artcyclopedia. com). Manet and Degas were both considered Impressionists and also Realists, Manet eventually being considered the leader in the Impressionist movement (artchive. com).

Edgar Degas (1834-1917)

Born in 1834 into a wealthy French family, Degas was regarded a self conscious, insecure, aloof individual, he never wedded. Due to the family’s status, there was never a deficit of funds for his enthusiasm of art (artchive. com)[1]. Receiving his trained in Louis Lamothe’s studio, Degas displayed the extreme influence of paintings and frescoes he observed about long outings to Italy, his laptops are filled with these subjects (metmuseum. com)[2]. He eventually came to “maturity as a painter in the 1860s, where background painting was considered the most popular art at the time (artchive. com).

Degas varied with mediums and supports, including his classical training of oil painting on fabric to dealing with pastels on paper. Sometimes he would combine mediums, as evident along with his combination of olive oil and tempera paint in canvas with Dance Institution, dated 1874. His subjects were typically women, especially known for his observation of ballet inside the 1880s, and people’s looks, of which using the out with self-portrait function before moving onto Parisians of low class.

*Dance School, 1874[3]

This job captures many different activities occurring in a boogie class. There is the teacher, with which three learners are focused on the instruction getting given. A ballerina in the still left foreground pays attention to the violinist before her, as though waiting for a cue, from the music becoming played, to either become a member of her classmates directly behind her or simply to walk to another section of the room wherever other students can be found. This definitely seems to be a possibility with another dancer, who stands poised with her head tilted to the left, listening pertaining to the moment to her into full stance and transfer to formation with her other classmates.

The young lady immediately behind her appears to be sidetracked, perhaps tired of the routines that are regularly taught, since she locations her hands up about her head and looks somewhat upward on the ceiling. A ballerina at the windowpane may be as well distracted or bored nevertheless the observer can be unaware due to the nature of her again being converted towards the course. One final dancer stands at the club, leg expanded and appears to be concentrating on her balance and poise, or maybe preparing very little to join your class after a appropriate warm up.

Mild from outside the house streams in the classroom, gently touching the ground, reaching out to give a sort of peaceful lingering in the room, for all the various activities in the room, one would assume a sort of busy, almost disorderly sense would linger, creating distraction for any dancers, and in many cases perhaps the musician and boogie instructor, while in the midst of the setting.

Eduard Manet (1832-1883)

Manet came to be in 1832, into the Parisian bourgeoisie. Although learned, he did not excel inside the academic community, he viewed a passion for the arts at an early age and was prompted by his mother’s brother to follow this interest. That wasn’t till after offering a brief time in the Vendor Marines in 1850 that he used study with Thomas Premium, of which this individual stayed with his mentor until 1856. During this time, this individual displayed preference for the works of Valazquez and Goya although felt that “one’s artwork should echo ideas and ideals in the present, rather than the past (artchive. com).

Manet, much like Degas, aimed at the lower category Parisian persons, a class as opposed to the class a single one were given birth to into. Manet likewise had a inclination for pictures models in his work, that he displayed in some of his operate, the most popular-and controversial job being Olympia, an petrol paint upon canvas job from 1863. His mainstay intended for medium preference was essential oil paint which has a canvas support.

*Olympia, 1863[4]

The art work that induced a stir in 1863, one of which in turn Manet did not intend. The specialist didn’t consider himself a radical, like Courbet nevertheless this function caused controversy just the same (artchive. com). In the portrait, there is a girl appearing being reclining, which has a relaxed, low aroused presence not only present in her appearance but can also be seen in her posture. She would wear a few straightforward pieces of jewelry, a flower hidden behind her left ear, and among her house slippers has fallen off of her foot, but she will not seem to pay out too much attention. A small black cat, almost concealed the dark areas, arches their back and your-eyes wide.

The indentation of the lady’s elbow highlights the soft qualities of the cushions she reclines upon, plus the floral scarf or scarf she is keeping in one hand-with the remainder showing out by under her lower human body, seems to include a touch of color towards the otherwise abgefahren, white with the bedding she is resting upon. Emerald green curtains, most likely made of purple velvet or a similar heavy cloth used with window treatments, hang in the background, one drawn aside good of the subject’s head.

To her left, it appears as if a servant of the home has brought plants into the area, from a suitor or maybe even from the artist himself-although Manet was recently married at the time of the piece of art. The servant’s appearance displays a hint of planning to capture the interest of the reclining woman but to no take advantage.


Degas and Manet were operating at the same time, and although Degas worked with different mediums and supports, including pastel on paper, the two designers focused after the common people of Paris, france, mainly girls. Degas has been even more noted intended for his assist dance classes, Manet for his focus with women, such as the subject in Olympia, plus the barmaid in A Bar in Folies-Bergeres, 1881-82[5]. Natural, calm expressions have to be found on the confronts of the women who were the subjects of these two Parisian music artists, bodies certainly not posed intended for endless, strenuous hours is very much more peaceful, giving a impression of “in the moment with the job displayed, by beginning to completion.

Similarity can be found in the ability to let subjects to “just always be,  instead of awkward posing and unrealistic facial expression. Difference can be obtained from the quality of the completed work, focusing on the mediums applied by every artist. Manet’s usage of oil about canvas supplies a polished, almost photograph-like presence, almost as though numerous classes were taken on to capture the standard of the producing work. Degas’ use of oil and tempera on canvas, at times an implementation of pastels and newspaper, gives a more “on the spot,  start on sight and then shifting away to completion after return to the studio quality to his finished job.


Manet and Degas, Parisian designers of the 19th century, men who were known as Impressionists as well as Realists of their time, captured the images with the people of France, Rome and low class residents in particular, and brought these to life in canvas for the world to eventually come to view, their very own works happen to be displayed around the world, from this sort of places because Shelburne, Vermont to Greater london to Paris. Manifesting real life photos, in a more organic state to be, was the centre of the job Manet and Degas aimed at in the duration of their artwork careers, impacting on fellow and future artists to explore taking the moment, and bringing the minute to life around the canvas.

Performs Cited


Hughes, Robert. Nothing if not really Critical: Chosen Essays about art and Artists.


MacDonald, Lisa. 1999.



*Characteristics of Realism


*Characteristics of Realism


*Definition of Realism



Oberschenkel, Ruth. Edgar Degas: 1834-1917 Painting and Sketching. In Timeline of

Art Record. New york city: The Metropolitan Museum of Art, 2150.


[1] Paperwork from Huges, Robert. Nothing if not Critical: Selected Documents on art and Artists. www.artchive.com

[2] Notes from Schenkel, Ruth. Edgar Degas: 1834-1917 Art work and Pulling. In Timeline of Art Record. New york city: The City Museum of Art, 2000. http://www.metmuseum.org/toah/hd/dgsp/hd_dgsp.htm

[3] Image can be found at www.artchive.com

[4] Picture can be found at www.artchive.com

[5] Image can be found www.artchive.com

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