Four Studies of a Jockey by Edgar Degas French, 1834-1917, created in 1866, is a vital mixed-media drawing that marks the artist’s increasing preoccupation with equestrian subjects and the dynamic environment of the racetrack. The work showcases Degas’s innovative and experimental approach to materials, blending the fluidity of traditional drawing with the density of painting. The artist meticulously utilized brush with black ink, oil paint, and white gouache, applied directly onto tan wove paper. This delicate support has experienced natural material changes over the centuries, noted by the discoloration of the paper with a brown essence, and is preserved today by being laid down onto a cream laid board.
The composition features four distinct portrayals of a jockey, demonstrating the French artist’s intense focus on analyzing and rendering motion and posture. By isolating individual figures within a single plane, Degas captures subtle variations in their stance, perhaps working out poses required for larger, more formal canvases. This analytical approach to capturing the modern, fleeting moment strongly aligns the piece with the aesthetic concerns of the Impressionism period (c. 1860–1890s). Degas was unique among his contemporaries in France, preferring interior scenes, performance arts, and the urban social landscape over pure landscape painting.
This detailed study reflects Degas’s pivotal move away from academic history painting toward the documentation of contemporary life, cementing his status as a key figure in 19th-century French art. The rigorous combination of ink and paint ensures that the figures maintain structural integrity despite the quick, sketchy nature of the study. The drawing resides in the distinguished collection of the Art Institute of Chicago. Its historical importance means that high-quality prints and documentation are frequently made available through digital public domain initiatives, ensuring wider access to the draughtsmanship and technique mastered by Degas.
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