Degas the little 14 year old dancer
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Little Dancer of Fourteen Years
Sculpture by Edgar Degas
The Little Fourteen-Year-Old Dancer (French: La Petite Danseuse de Quatorze Ans) is a sculpture begun c. by Edgar Degas of a young student of the Paris Opera Ballet dance school, a Belgian named Marie van Goethem.
Description
[edit]The sculpture is two-thirds life size[2] and was originally sculpted in wax, an unusual choice of medium for the time.[3] The sculpture exhibited in was dressed in a real bodice, tutu and ballet slippers and a wig of human hair. All but the hair ribbon and tutu were coated in wax.
There are at least 28 bronze casts of this sculpture that appear in museums and galleries around the world today. After Degas' death his family hired a famous founding company, Hébrard, to make these replicas.[4] The tutus worn by the bronzes vary from museum to museum.[5]
The exact relationship between Marie van Goethem and Edgar Degas is a matter of debate.[6] Another version of the statue is a nude, currently on display side by side with the Exhibition wax original at the National Gallery in Washington DC.[7] Although the public reacted negatively to the nudity of Degas' young model, as implied by his statue's real and removable clot
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Little dancer grey fourteen
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The Minute Dancer recapitulate posed counter
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The world’s most famous tutu: restoration of “The Little Fourteen-Year-Old Dancer” by Edgar Degas
Following an extensive restoration process, “The Little Fourteen-Year-Old Dancer” (c. ) by Edgar Degas will be back on display at the Albertinum, run by Staatliche Kunstsammlungen Dresden (SKD), as of Tuesday, 8 August Edgar Degas’s Dancer is an icon of art history, and her ballet skirt without doubt the most famous tutu in the world. It has now been replaced, while the sculpture has been cleaned and conserved, and paint losses retouched.
“The Little Fourteen-Year-Old Dancer” has stood in the permanent exhibition in the Albertinum for decades. Until recently, the metal surface had become dull, and clear signs of corrosion had begun to appear, especially on the Dancer’s face. The gallery’s temporary closure for renovation presented an opportunity to examine the figure carefully in the restoration workshop for the SKD’s Skulpturensammlung.
At the same time that the damage was assessed, art technological research was carried out to answer specific questions about the techniques and materials used to create the piece. To that end, photogrammetric images of the sculpture were also acquired and a 3D model created. A method known as X-ray fluorescence (XRF) spectrometry was u