Study of a Jockey (M. de Broutelles) by Edgar Degas (1834-1917) is an important early drawing executed with precision using black crayon on cream paper. Classified within the French tradition of academic drawing, this piece demonstrates the artist’s early mastery of line and form. The subject, identified as M. de Broutelles, represents the equestrian themes that would become central to Degas’s artistic output later in the 19th century, reflecting a keen societal interest in athleticism and the spectacle of the racetrack.
The composition utilizes the black crayon effectively, allowing Degas to focus intensely on the structure, posture, and potential movement of the figure. Unlike the Impressionists with whom he would later be associated, Degas approached the figure with a foundational classicism, carefully studying the human form before attempting to capture fleeting moments. This method is evident in the decisive, yet subtle, application of the medium to capture musculature and volume.
Although Degas’s major body of work dates from the second half of the century, the work is classified historically under the period 1826 to 1850, emphasizing the academic context and foundational skills Degas absorbed during his youth. This classification speaks to the enduring relevance of traditional drawing techniques in French art before Impressionism took hold. The subject of the jockey serves as a bridge between historical genre painting and the modernity that Degas sought to document.
The piece resides in the esteemed collection of the National Gallery of Art, forming a key component of their holdings of 19th-century European works. As a significant drawing documenting the formative years of the artist, this representation of M. de Broutelles is frequently reproduced for educational purposes. Due to its status within the collection, high-quality prints and references to the work are often categorized within the public domain, promoting broader scholarship regarding Degas’s early development.
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