Edgar Degas, ‘Ludovic Halévy Meeting Mme. Cardinal Backstage (Adhémar 56)’, circa 1880-83, Doyle
Edgar Degas, ‘Ludovic Halévy Meeting Mme. Cardinal Backstage (Adhémar 56)’, circa 1880-83, Doyle

10.875 x 12.125 inches; 276 x 308 mm.
Sheet: 11.875 x 13.5 inches; 302 x 241 mm.

Atelier Edgar Degas, Vente d'Estampes, Galerie Manzi Joyant, Paris, November 22-23, 1918, no. 201
Private collection, New York
Knoedler & Co., New York
Gutekunst and Kornfeld, Berne, May 15, 1952, lot 74
Parke-Bernet Galleries, Inc., New York, April 27, 1962, lot 58
Acquired from the above, thence by descent

About Edgar Degas

Though he rejected the label, Edgar Degas contributed significantly to Impressionism with his depictions of fleeting moments and images of modern Parisian life—in theaters, cafés, and, most iconically, ballet studios. “It is much better to draw what you can't see anymore but is in your memory,” he said. “You only reproduce what struck you, that is to say the necessary.” Degas was trained in a traditional academic style, which is particularly evident in the classical subjects of his early works, and he was a master draftsman and capturer of emotions. As his practice evolved, he developed a profound interest in the poses and physicality of ballet, producing approximately 1,500 depictions of dancers over the course of his career. Like many of his contemporaries, Degas was influenced by Japanese prints, which inspired him to experiment with asymmetrical compositions and unusual vantage points. He also worked in a wide range of mediums and techniques, and was particularly known for his use of pastel to depict the figure with an almost sculptural solidity.

French, 1834-1917, Paris, France, based in Paris, France