Despite this freedom of new impressionist techniques, Degas remained true to his classical training and approached each of his subjects as a technical draughtsman might (Wintle, 2002), which often positions his style as somewhere between impressionist and realist (Growe, 2001). The generation of artists to which Degas and his contemporaries belonged (among whom were Monet, Manet, Renoir and Van Gogh) began to move away from the traditional and idealised images because of their desire to express impressions of landscapes, objects and people that enhanced both mood and movement. Because he was fascinated by photography and its capacity to capture light and motion, much of Degas’ work reflects the hallmarks of that time – invention and experimentation (Kleiner, 2008). Degas’ work is associated with the changes in artistic representation of the period – from traditional to innovative – as well as his overt social commentary. The nineteenth century is identified by the social change and reform that occurred and it is this combination of the traditional and the innovative in Degas’ work which will be explored. This work will focus on the artist and work of Edward Degas, the nineteenth-century painter, typically known for his illustrations that capture the movements of both dancers and horses in various environments.
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