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Edgar Degas. L’Absinthe. (1876). Impressionnism.

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Edgar Degas. L’Absinthe. (1876). Impressionism.

Edgar Degas, since 1867 especially painted dancers and ballerinas. Its work also consists of portraits and scenes of kind drank. In those it seeks to represent the loneliness and the insulation of the people in the society and the modern life. For this reason the Absinthe is a total success. This seedling with the very bitter yellow flowers and the powerful perfume is used with fennel and anisates in A called liquor " the Green Fairy " usually consumed at the 19th century. Drank one of the components of the Absinthe, The thuyol is also very toxic for the nervous system, it causes, amongst other things, of the epileptic fits. Responsible made for many dramas the manufacture of the Absinthe is prohibited in France since March 1915. Degas use the composition of the painting, the glance of the characters and the expression of the faces for marking to their insulation and to their great loneliness. 

The point of view of the witness is located in height the glance is immediately attracted by the faces. 

The young woman is on the 3 higher tension fields between 2 natural points of interest. 

Empty spaces and full spaces are delimited perfectly.

The large downward diagonal of left on the right completely isolates the 2 characters from the remainder of pictorial space. This diagonal induces the idea of fall and forfeiture. 

Details : 

This woman is completely absent and pensive. Its glance does not cross that of his companion and does not look at in the same direction.

This newspaper posed there connects the 2 tables to the foreground and contributes to isolate the 2 people still more on the right. 

Here the drink. It is noted that all the painting has similar colors. As if the picture it were also soaked with alcohol.

Light : The scene is enlightened for the right.

Colors : Harmonize of analogy between hot colors. 

Similar Paintings : 

Edgar Degas. Ironers. (1865).
Edgar Degas. Modistes. (1865). 
Edgar Degas. Dancers. (1878).