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00:27Famous French Impressionist Edgar Degas rejected the typical subjects that were made popular by the academies, such as scenes from history and myth, and instead he explored modern life.
00:40Like the realists and Impressionists, he often painted images of middle-class leisure in the city.
00:48Degas' academic training encouraged a strong classical tendency in his art, which conflicted with the approach of the Impressionists.
00:57While he valued line as a means to describe contours and to lend solid compositional structure to a picture, they favored color and more concentration on surface texture.
01:09As well, he preferred to work from sketches and memory in the traditional academic manner, while they were more interested in painting outdoors.
01:20The picture The Billiard Room at Menil-Hubert was completed in 1892.
01:27From the 1860s, Degas regularly used to spend his summers in Normandy, at Menil-Hubert, Oren Department, on the country estate of his childhood friend Paul Valpenson.
01:41There, he would paint portraits of family members, and also produce views of interiors, including this one of a billiard room.
01:51On August 27th 1892, Degas wrote to his friend, the sculptor Bartholomew, saying that yet again, he had to postpone his return to Paris, because he had just started another painting.
02:06I wanted to paint, and I decided to try billiard rooms.
02:11I thought I knew a bit about perspective, I knew nothing about it, and thought I could replace it through a process of perpendiculars and horizontals, by trying hard to calculate the angles in the spaces.
02:25I really worked at it.
02:27The Billiard Room at Menil-Hubert is located in Musée d'Orsay in Paris, France.
02:34Between the ages of 22 and 26, Edgar Degas completed his training in Italy, where part of his family lived.
02:45Here he painted his father's sister, Laura, with her husband, the Baron Beleli, and her two daughters, Julia and Giovanna.
02:54Masterpiece of Degas' early years, this portrait evokes the family tensions, isolating each member of the family.
03:03The imposing dimensions, the sober colours, the structured games of open perspectives, doors and mirrors, all converge in strengthening a climate of oppression.
03:16Degas painted this interior scene because he could not paint outdoors due to a problem with his eyes.
03:24The whole composition is artifice because it has been very deliberately constructed by Degas.
03:31He emphasized the bigger social issues by the placement of the figures, the use of bold colours and the horizontal and vertical planes in this composition.
03:42The painting is housed in Musée d'Orsay in Paris, France.
03:47This cameo of 19th century life maintains its intimacy through Degas' use of pastel, whose chalky texture quiets the scene in multiple veils of colour.
04:01Pastel, an important drawing medium at the end of the 19th century, due in part to a new preoccupation with colour,
04:10the artist, appropriately expresses, through its inherent fragility, the ephemeral encounter between two women of different milios, that lies at the heart of Degas' composition.
04:22Degas often accompanied his female friends to the dressmakers and the milliners.
04:28Here, one of them, the American artist Mary Cassette, serves as the model and tries on hats while an attendant waits expectantly behind her.
04:40Cassette's expression of contented self-assurance contrasts sharply with the apprehensive posture of the shopgirl,
04:48a figure obscured by cropping and the lack of delineation of her facial features.
04:55Today, the canvas is in the Museum of Modern Art in New York, the United States.
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