File:Femme nue debout à sa toilette (Nude woman with towel, standing) (BM 1949,0411.3193).jpg

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Femme nue debout à sa toilette (Nude woman with towel, standing)   (Wikidata search (Cirrus search) Wikidata query (SPARQL)  Create new Wikidata item based on this file)
Title
Femme nue debout à sa toilette (Nude woman with towel, standing)
Description
English: Female nude leaning to left, holding towel in her left hand that hangs from her thigh; corner of bed in foreground. 1891-92
Lithograph
Date between 1891 and 1892
date QS:P571,+1891-00-00T00:00:00Z/8,P1319,+1891-00-00T00:00:00Z/9,P1326,+1892-00-00T00:00:00Z/9
Medium paper
Dimensions
Height: 310 millimetres
Width: 200 millimetres
institution QS:P195,Q6373
Current location
Prints and Drawings
Accession number
1949,0411.3193
Notes

See Sue Welsh Reed and Barbara Stern Shapiro, 'Edgar Degas, the painter as printmaker', Boston 1984, cat.61. Reed and Shapiro revise Delteil's description of this print, and have identified six states, of which this is the unique impression of the second. Like 1949-4-11-3192, this belongs to a large group of revisions of the same composition that preoccupied Degas at the beginning of the 1890s. (Text from 'From Manet to Toulouse-Lautrec', BM 1978, cat.76)

The Museum's impression of the second state appears to be unique, and has never been illustrated. This has allowed various innacuracies to creop into the listing of the states of this prints, which might be worth correcting. Deteil's order is correct so far as it goes. The first state (unique impression in the Fondation Doucet, University of Paris: illustrated in 'Estampe Impressioniste, Exhibition Catalogue, Bibliothèque National Paris, 1974, p. 92, no 201) was transferred from a drawing. in the second state exhibited here, the stone was rewoked directly by brush with lithographic ink. The new work on the hair, round the shoulder and buttocks and between nthe legs can easily be distinguished by its congealed and bobbly nature. Parts have been reworked with a scraper and roulette. In the third state the composition was extended at the left and at the top, and the model's hair drawn with ink washes, (illustrated in 'L'Estampe Impressioniste, no.202). In the fourth state the hair was reworked with a scraper and lightened (illustrated by Deteil). E. W. Kornfed has discovered a new fifth state in which the ink washes are getting very worn, and the left extension of the composition is eliminated, (illustrated bty E. W. Kornfeld: 'Edgar Degas, Beilage zum Verzeichnis des Graphischen Werkes von Loys Deteil', Bern, 1965, as the fourth state). One must however admit a difficulty over the hair in the fifth state which seems to be closer to the third than the fourth state. Without comparing impressions no certainty is possible; but perhaps either Degas redrew the hair in the fifth state, or the order here given of the third and fourth states ought to be reversed.
Source/Photographer https://www.britishmuseum.org/collection/object/P_1949-0411-3193
Permission
(Reusing this file)		 © The Trustees of the British Museum, released as CC BY-NC-SA 4.0

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current15:56, 14 May 2020Thumbnail for version as of 15:56, 14 May 20201,740 × 2,500 (913 KB)Copyfraud (talk | contribs)British Museum public domain uploads (Copyfraud/BM) Coloured lithographs in the British Museum 1891 #4,185/21,781

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