Frammenti di luce e di colore Una finestra sull'Impressionismo | Page 75

fig. 1 (pag. 74):
Edgar Degas,
La tinozza,
1885; pastello su carta,
60x70 cm,
Farmington (Conn.),
The Hill-Stead Museum
fig. 2 (a sinistra):
Edgar Degas,
L’assenzio,
1875; olio su tela,
68x92 cm, Parigi,
Musée d’Orsay
le in common with Monet and the other
landscape painters in the group, whom
he mocked for painting outdoors. In 1875
he travelled to Italy. In the late 1880s, De-
gas also developed a passion for photo-
graphy. He photographed many of his
friends, for example Renoir. The other
photographs were used for reference in
some of Degas’ drawings and paintings
(the nudes and the dancers). He travelled
to Spain and Morocco. In the meanwhile,
he drew with pastels and made sculptu-
res. In this period he used to collect ar-
tworks, too. He never married and spent
the last years of his life retired, nearly
blind, before dying in September 1917.
75