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ARCH.2003.29, Rendition: 803491
The image appears to be a page from a publication, specifically "The Home Forum," dated June 20, 1944. The page includes a reproduction of a drawing titled "The Morning Ride" by Edgar Degas. The drawing depicts three riders on horseback, viewed from behind, with the riders slightly angled and the horses in motion. The artwork is a pencil or charcoal sketch, showing detailed lines and shading to define the forms of the riders and horses.
Below the drawing, there is an article discussing Edgar Degas, his artistic style, and his approach to capturing scenes of jockeys and horses. The article mentions Degas's preference for realism, his method of capturing movement, and his unconventional use of perspective and line. It also references Degas's influence on other artists and his objective approach to his subjects.
The page is mounted on a light brown paper folder, with a small tab indicating it is part of a collection. The top left corner includes a label from the "Boston News-Clip Bureau" with an address in Boston, Mass., and a date stamp of June 20, 1944. The bottom right corner has a signature or initials that appear to be "Dorothy Abow."
The overall presentation suggests that this page is part of an archive or collection of historical newspaper clippings, preserving artwork and articles of cultural and historical significance.
This image is a page from a scrapbook or archive, containing a newspaper clipping from "The Home Forum" section of the Christian Science Monitor, dated June 20, 1944, as indicated by the label at the top left. The clipping features a black-and-white drawing titled "The Morning Ride" by Edgar Degas, which depicts three jockeys riding horses. The jockeys are shown in profile, each in a different pose, with the horses in various stages of motion.
Below the drawing, there is a column of text that discusses Edgar Degas and his artistic style. The text provides insights into Degas's preference for realism and his ability to capture characteristic gestures and movements. It also mentions that Degas was born Hilaire-Germain-Edgar de Gas but preferred the simpler rendering of his name. The text further elaborates on Degas's approach to painting, drawing, and modeling, emphasizing his use of spare, telling simplification and his ability to discern attributes in common subjects that appear odd and strange.
The page is bound with two visible holes on the left side, suggesting it is part of a binder or scrapbook. The overall appearance of the page and the clipping suggests it is an old document, with a yellowed background and some wear.
A page from a newspaper is placed on a brown folder. The newspaper page has the title "The Home Forum" written in black font. Below the title, there is a drawing of three people riding horses. The drawing is in black and white. The folder has a label that reads "Boston News-Clip Bureau" and "Christian Science Monitor." There are two holes on the folder.
The image is a newspaper clipping from the Christian Science Monitor, dated June 20, 1944. It features an article titled "The Home Forum" with a drawing of three people riding horses. The drawing is labeled "The Morning Ride" and is attributed to Edgar Degas. The article discusses Degas's artistic style and technique, particularly his preference for realism and his ability to capture the movement and gestures of his subjects. The clipping is part of a collection at the Boston News-Clip Bureau, located at 8 Bosworth Street in Boston, Massachusetts.
The image shows a newspaper clipping from The Christian Science Monitor, dated June 20, 1944, and part of the Boston News-Clip Bureau archives located at 8 Bowdoin Street, Boston, Massachusetts. The clipping is titled "The Home Forum" and features a detailed article about the artist Edgar Degas.
Header Information:
Illustration:
Caption and Attribution:
"The Morning Ride": A Drawing by Edgar Degas
It also notes that the drawing is from the Fogg Art Museum at Harvard University and is part of the Towle Collection.
Article Text:
Visual Layout:
The image depicts a historical newspaper clipping discussing Edgar Degas's artwork, specifically his drawing titled "The Morning Ride", which illustrates three jockeys on horseback. The article provides context about Degas's artistic philosophy and style, emphasizing his focus on movement, character, and the lyrical qualities of his subjects. The clipping is part of an archival collection from the Boston News-Clip Bureau.
The image presents a scanned newspaper clipping featuring an article about Edgar Degas, accompanied by a sketch of three horses and riders.
Overall, the image provides a glimpse into the life and work of Edgar Degas, highlighting his unique style and innovative approach to art.
The image depicts a newspaper clipping of an article about Edgar Degas, featuring a sketch of three horsemen on horseback. The clipping is attached to a piece of brown paper with two holes punched in it, resembling a folder or binder page.
Newspaper Clipping:
Brown Paper:
Overall Impression:
The image appears to be a vintage newspaper clipping, likely from the early 20th century, featuring a sketch by Edgar Degas and an accompanying article about his artistic style. The brown paper background adds a sense of nostalgia and age to the image.
The image presents a vintage newspaper clipping, "The Home Forum," dated June 20, 1944, featuring an article about Edgar Degas' artwork. The clipping is attached to a brown sheet of paper with two holes punched on the left side, suggesting it was once part of a binder or scrapbook.
Key Features:
Overall Impression:
The image presents a well-preserved and informative clipping about Edgar Degas' artwork, providing insight into his artistic style and techniques. The inclusion of the clipping on a brown sheet of paper adds a sense of nostalgia and historical significance to the image.
The image presents a vintage newspaper clipping from "The Home Forum," dated June 20, 1944, featuring an article about Edgar Degas' drawing "The Morning Ride." The clipping is affixed to a brown paper background with two holes punched on the left side.
In summary, the image showcases a vintage newspaper clipping featuring an article about Edgar Degas' drawing "The Morning Ride," accompanied by a brief biography of the artist. The clipping is attached to a brown paper background with two holes punched on the left side, and a sticker from the Boston News-Clip Bureau is visible at the top.
The image is a clipping from "The Home Forum" section of the Christian Science Monitor, dated June 20, 1944. The clipping is attached to a brown folder from the Boston News-Clip Bureau, located at 4 Bromfield Street, Boston, Mass.
The main feature of the clipping is an article titled "The Morning Ride," which discusses a drawing by Edgar Degas. The drawing depicts three jockeys riding horses. The article is written by Thomas A. Yates.
The text of the article reads:
"The Morning Ride"
A Drawing by Edgar Degas
Edgar Degas was a keen student of the race track. But he preferred the simpler subjects of jockeys and horses to the more complex scenes of races. He was content to paint, draw, and model with spare, telling strokes the riders and their mounts.
Degas was a realist. What he set down was what he saw. He was not concerned with the refinements of the characteristic gesture, the subtle expression, the telling detail of the academic artist. His searchings and experimentings were for the simple, direct, and uncompromising means which appear old and strange. Realism was his aim, but his realism was not the texture nor texture, but rather a pattern of design which gave the illusion of reality. His figures are perceived in the distorted abstract forms which he saw, and his colors are the colors, flat they were, moving away from him, toward the spectator. He saw each form in a moment of eternal natural movement, and his genius was in the ability to record that moment so that it lives for us.
He did not edit or embellish the scene. He did not strive for effect. The essence of his genius is the strangeness of fact. His drawings of jockeys were not drawn as studies for paintings, but as drawings. They were preserved carefully and closely in his studio, and he often returned to them for their drawing and painting of horses in motion. They were not intended for the public, but were treasured by artists of the time as unique examples of the master's art.
Even Toulouse-Lautrec, or sensationalist, was impressed by the drawings and admired them for their simplicity and economy. He saw in them the emphasis not on the moment but on the movement and little moments.
Thomas A. Yates
The drawing itself is a simple, yet dynamic depiction of three jockeys on horseback, capturing the essence of movement and the natural posture of both the riders and their horses. The sketch is rendered in a minimalist style, focusing on the outlines and essential forms without excessive detail.