Degas's Dancers at the Barre: Point and Counterpoint (Phillips Collection)
| Author | : | |
| Rating | : | 4.95 (799 Votes) |
| Asin | : | 0300176325 |
| Format Type | : | paperback |
| Number of Pages | : | 144 Pages |
| Publish Date | : | 2017-03-28 |
| Language | : | English |
DESCRIPTION:
Elizabeth Steele is head of conservation, The Phillips Collection.. Eliza Rathbone is chief curator, The Phillips Collection
About the AuthorEliza Rathbone is chief curator, The Phillips Collection. Elizabeth Steele is head of conservation, The Phillips Collection.
Kenneth Hughes said Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint". This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October "Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint"" according to Kenneth Hughes. This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 1Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint" Kenneth Hughes This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 144 pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint" Kenneth Hughes This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 144 pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . 011 to January "Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint"" according to Kenneth Hughes. This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 1Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint" Kenneth Hughes This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 144 pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint" Kenneth Hughes This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 144 pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . 01"Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint"" according to Kenneth Hughes. This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 1Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint" Kenneth Hughes This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 144 pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint" Kenneth Hughes This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 144 pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . , and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 1Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint" Kenneth Hughes This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 144 pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . Eliza Rathbone and Elizabeth Steele, "Degas's Dancers at the Barre: Point and Counterpoint" Kenneth Hughes This volume is the catalogue that accompanied the exhibition of the same name at The Phillips Collection in Washington, D.C., from October 2011 to January 2012, and it is a welcome little addition to the literature on Degas and the dance. I say "little" because the book is in small format (8"x10.8") and only 144 pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and . pages and obviously does not compare to (nor was it meant to) the much more comprehensive catalogues of Jill DeVonyar and Richard Kendall for the "Degas and
He also knew the work involved in the life of the dancer, the endless rote and repetition of steps to achieve supreme grace, agility, and expression. Degas's Dancers at the Barre traces ballet in Degas's art from the 1870s to 1900. Bringing together carefully chosen paintings, drawings, pastels, prints, and sculptures from some of the world's finest collections, this book celebrates The Phillips Collection's Dancers at the Barre (early 1880s–c. National Gallery of Art object conservators Shelley Sturman and Daphne Barbour discuss Degas's sculptures, and choreographer Christopher Wheeldon reflects on Degas in the context of ballet today. Full-color reproductions of the works in the exhibition—accompanied by images of related works, notes from the technical analysis of additional works by Degas in the Phillips Collection, and a detailed chronology of the artist's life—reveal the impressionist ma