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• W89467991 abstract "Late in his career, Degas turned to poetry as a new form of artistic expression. This essay analyzes this poetry in terms of the theoretical and physical process of his contemporary visual works. It also examines the similarities between the poetic principles and practices of Degas with those of Mallarme. ********** Mallarme's famous riposte to Degas that 'you can't make a poem with ideas.... You make it with words' has ensured that Degas's desire to write poetry has not been forgotten (Valery 62). Nevertheless, ever since their first publication, Degas's reason for writing these poems has remained enigmatic to scholars. Although several have been published, both as a collection and separately, to date very little critical examination of them has been undertaken. Degas's sonnets were first published with a commentary by Jean Nepveu Degas in 1946, in the only edition to treat them as a unique body of work. And yet, Degas took his poetic venture seriously; more importantly, he adopted as models the sonnets, principles, and critical writings of his friend, the Symbolist poet, Stephane Mallarme. While it is important to understand that Degas had no ambition to publish these sonnets, it is clear that he considered them seriously enough to share them in certain cultural circles, supporting the notion that they should be scrutinized as part of his total oeuvre. There is a close parallel between changes in Degas's artistic style in the 1880s and 1890s and his decision to try his hand at poetry. At this point, his art was developing into a more abstract, symbolic style more concerned with form and experience than narrative or subject. For example, he was moving away from his naturalist representations of the ballet as seen in L'Etoile (see Illus. 1), opting instead for more abstract representations with vivid colours and suggested, rather than literal, scenes as in Les danseuses bleues (see Illus. 2). Simultaneously, he was turning with renewed and increased interest to another medium: small-scale sculpture. Reading and understanding his poetry as an innovative and exciting medium through which he expressed themes similar to those he explored in his visual art provides the best perspective for our understanding of some aspects of his late works. In this essay, I examine selected facets of Degas's poetry and its apparent debt to the principles and practices of Mallarme's poetry and critical writings on dance. This essay is not intended to be an exegetical analysis and critique of the sonnets on their own merit. Degas's poetry is best understood in the spirit of interdisciplinarity, an interest in the inherent qualities of the written word and its relation to painting. While some recent scholarship has considered the aesthetic link between Mallarme and Degas, to date, little work has been done, and none on the triangular relationship between the sonnets, Mallarme's theories, and Degas's own paintings. The question is, therefore, not whether the poems are successful in their attempt to implement Mallarmean principles. The question is rather what influence these principles might have exerted over the vocabulary of his plastic arts. My analysis will thus focus on the examination of Degas's sonnets as an integral element of his overall artistic expression, a means to a dynamic end. An extremely important element of Degas's poetry is the distinct thematic link to his visual arts. Of the twenty sonnets alluded to by Paul Valery, only eight have been published. Four address the theme of the dance, one the horse and jockey; one is a tribute to Heredia; one centres on Mary Cassatt's parrot; and the eighth is an ode to the opera singer Rose Caron, of whom he painted a portrait the following year (Mallarme, Documents 157). About the other twelve we can only speculate. Evidence from a letter written by Berthe Morisot indicates that at least one of them was concerned with the theme of the bather. …" @default.
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• W89467991 date "2007-09-01" @default.
• W89467991 modified "2023-09-28" @default.
• W89467991 title "Degas the Sonneteer: Transcending Disciplinary Boundaries and Building a New Aesthetic" @default.
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