Degas in Copenhagen

Barry Schwabsky writes about the Degas show at The Glyptotek in Copenhagen for The Nation
Instead of organizing Degas’s oeuvre around its subject matter (ballet dancers, racehorses, landscapes) or the diverse media he employed (oils, pastels, bronze) or even chronology, it focuses on his aesthetic premises and representational strategies as they cut across medium, motif and the artist’s career. Line Clausen Pedersen, the exhibition’s curator, has articulated this approach by singling out Degas’s relation to Impressionism—as ambivalent as it was  essential—and his ideas of process, draftsmanship and artifice. Pedersen’s sort of daring ought to be more widespread among museum curators but isn’t, perhaps because it requires thinking more like an artist and less like a collector or product manager. 
But there’s an irony in the title “Degas’ Method.” As Pedersen points out, when a fellow painter proudly boasted of having found his own method, Degas replied, “Fortunately for me, I have not found my method; that would only bore me.”  more

Degas's "Dancers Practicing in the Foyer.

Degas' Method at Glyptotek in Copenhagen


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