This article will give a clear analysis of how style and technique changed in his art during the period from 1870 to 1890 in regard of the realist and impressionist movements. This paper will also explain why Degas was obsessed with the ballet theme.
Degas identifies with the subject of dance because most of his works depict dancers. Most of the paintings expose emotional complexity and illustrations on human isolation. Degas claimed that prior to his career, he yearned to become a history painter; a profession based on his satisfactory preparation in his thorough academic training, and close study of classic art. Early in his 30s, he changed course, and by bringing customary methods of a history painter to tolerate on modern subject affairs, he became a conventional painter of modern existence.
Degas started his artistic career in 1859, where he moved into a Paris studio and got permission to begin painting The Bellelli Family (Armstrong 1991, 42). Furthermore, he worked on several other paintings like Sémiramis Building Babylon in 1860; Alexander and Bucephalus and the Daughter of Jephthah in 1859–60 and Young Spartans around 1860. The most common paintings from Degas in the period from 1870 to 1890 are: The Dancing Class (1870), The Rehearsal of the Ballet Onstage (1874), The Rehearsal Onstage (1874), The Dance Class (1874), Dancers Practicing at the Barre (1877), The Dance Lesson (1879) and Dancers, Pink and Green (1890) (Thomson 1988, 21). These paintings play a vital role in the change of style and technique in Edgar’s career life (Tinterow 1988, 18).
The painting of the Dancing Class, ca. 1870, was the earliest of Degas’s infinite scenes of ballet dancers going through their paces in the rehearsal rooms and studios of Paris Opera. Later on when Degas was assessing his artworks, he lamented that he had no eye for such challenging work. He complained further in the late 70s that he had painted so