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An Analysis of Degas’ The Tub, 1886
In 1886, during the eighth and final showing of the Impressionists, critics and patrons were presented with Degas’ exhibit, featuring two pictures from the modistes series that showcased the familiar subjects of milliners, along with ten paintings described in the catalogue as “a series of nudes of women bathing, washing, drying, rubbing down, combing their hair or having it combed. ... Degas said, “the nude has always been represented in poses which presupposed an audience, but these women of mine are honest, simple folk, unconcerned by any other interests than those involved in their physical condition. ... Degas began painting these nudes because he felt as though traditional nudes were no longer meaningful. ... ”ii In stark contrast, Degas’ nudes were often faceless subjects with no sparks of personality or insights into their humanity. ... [Degas was] eager to reveal lines that no one sought to establish or even see. ...
Degas’ The Tub, one of the ten pictures he displayed in 1886, is an example of his most original pictures of women bathing. ... Degas, who had a color print by Kiyonaga hanging over his bed, probably derived this idea of perspective from Japanese art, which used bold perspective and solid color block printing along with recurring subjects of women bathing. ... ” Degas’ entire purpose of The Tub and of his other nude bathers was to focus on this subtext. ... ”iv This technique of perspective, using the extreme foreground, increased as Degas began to go blind in his later years and imitated sculpture, which was another increasing interest of his. ...
The Tub was pastel on cardboard and “it is undeniable that out of his uncertainty and research for an ideal method, pastel emerged as the medium that best answered Degas’ needs, or was at least best suited to his experiments.
Approximate Word count = 1434
Approximate Pages = 5.7
(250 words per page double spaced)
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