A new season for the “painter of dancers” is beginning. Tomorrow, London’s Royal Academy of Arts opens Degas and the Ballet: Picturing Movement, positioning Degas’s images of dancers in the context of photography and early film. The exhibition is on view through December 11, 2011. Early reviews indicate that, while Degas is already well known and well loved, his work continues to offer much to discover. In the Financial Times, Jackie Wullschlager writes that the Royal Academy exhibition, “triumphantly proves how much we can still glean from a deep, precisely focused exploration of the most familiar masters.”
On October 1, our own exhibition opens, exploring Degas’s process in representing ballerinas from the 1870s to 1900. His devotion and commitment to the subject and his deep understanding of the hard work underlying the dancer’s art led him to repeat and revise his depictions of dancers obsessively. Degas’s Dancers at the Barre: Point and Counterpoint takes lessons learned from the conservation of a Phillips treasure as its starting point.
You can also discover another perspective on the artist in the Museum of Fine Arts Boston’s Degas and the Nude, which includes The Phillips Collection’s After the Bath (c. 1895), below. Across the Atlantic, Rembrandt & Degas, which opened this summer at Rijksmuseum in Amsterdam, remains on view through October 23.
If you’re not sure you can make it to these exhibitions (or they leave you wanting more), visit Degas’s work in permanent collections around the world. Here in the DC region, opportunities abound at the Baltimore Museum of Art, Corcoran Gallery of Art, Dumbarton Oaks, Hirshhorn Museum and Sculpture Garden, The Kreeger Museum, National Gallery of Art, Virginia Museum of Fine Arts, The Walters Art Museum, and (of course) here at the Phillips.