Hilaire-Germain-Edgar Degas, 'Head of a Woman', about 1874
About the work
Overview
The woman has not been identified, but was probably one of Degas's models. The three-quarters view is typical of the artist's early work in which heads and bust-length portraits predominate.
Key facts
Details
- Full title
- Head of a Woman
- Artist
- Hilaire-Germain-Edgar Degas
- Artist dates
- 1834 - 1917
- Date made
- about 1874
- Medium and support
- Oil on canvas
- Dimensions
- 32.1 × 26.7 cm
- Inscription summary
- Signed
- Acquisition credit
- On loan from Tate: Presented by Viscount D’Abernon and Lord Duveen 1919
- Inventory number
- L700
- Location
- Not on display
- Image copyright
- On loan from Tate: Presented by Viscount D’Abernon and Lord Duveen 1919, © 2000 Tate
- Collection
- Main Collection
About this record
If you know more about this painting or have spotted an error, please contact us. Please note that exhibition histories are listed from 2009 onwards. Bibliographies may not be complete; more comprehensive information is available in the ÁùºÏ²ÊÔ¤²â Library.
Images
More works by Hilaire-Germain-Edgar Degas
(Showing 6 of 16 works)
A woman sits beside a bath, drying her hair. She pitches forward, one arm raised to rub the towel on her neck, the other reaching back awkwardly, perhaps to steady herself or perhaps to grasp the towel on the back of the chair. The ungainly but authentic-looking pose makes it easy to believe that...
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This is an early example of Degas’s cafe or cafe-concert scenes. Cafes were an important part of Parisian social life, and also provided artists with a rich source of visual spectacle, characters and ‘types’.Two men seated at a corner table examine a newspaper. The figure facing us points to an a...
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The dancers in Degas’s painting are clouded in a mist of tulle, but two striking heads of red hair seem to anchor the blurred forms moving in space. Arms and legs curve and stretch, delicate white skirts toss and sway. The white tutus depicted here are the practice dress worn by the younger dance...
A maid combs the hair of a girl who has been swimming; her bathing suit is stretched out on the ground to dry. Other objects – two parasols, a basket and a summer bonnet – are scattered around. A family group (some members wrapped in towels) is leaving the shoreline, as other people stroll in the...
Women combing their hair, or having it combed, often appear in Degas’s work, and this painting is one of his boldest treatments of the subject. A maid, wearing her servant’s uniform, combs the hair of her seated mistress, who is not yet fully dressed. Pulled back by the force of the strokes, the...
Hélène Rouart stands in her father’s study, her hands resting on the back of his empty chair. Works from his art collection can be seen behind her, including three Egyptian statues in a glass case and, above her, a Chinese wall hanging. Although Degas set down the final composition with little su...
The Cirque Fernando was built in 1875 near the Place Pigalle in Paris, close to where Degas lived. He saw Miss La La perform there several times. Born Anna Albertine Olga Brown (1858-1945), she was a mixed-race circus performer famous for her feats of strength. Olga is especially known as the inv...
Elena Carafa was Degas’s first cousin. Her mother, Stefanina, the Duchessa Montejasi-Cicerale, was the youngest sister of Degas’s father. Like many members of Degas’s family they lived in Naples, which Degas himself returned to in the winter of 1873–4, when he accompanied his dying father there....
Princess Pauline Sander (1836–1921) was the wife of Prince Richard Metternich, the Austro-Hungarian Ambassador at the court of Napoleon III from 1860 to 1871. Known as the ‘ambassadress of pleasure’, she was a glamorous figure in Parisian high society during the Second Empire. A pioneer of fashio...
In the late 1890s a number of dance troupes from Eastern Europe visited Paris and performed at the Moulin Rouge, the Folies-Bergère, the Casino de Paris and at a brasserie near Degas’s Montmartre home. This pastel may have been one of three showing ‘dancers in Russian costume’ that Degas showed a...
Not on display
The painting illustrates a passage from the Life of Lycurgus by the Roman historian Plutarch, which describes how Spartan girls were ordered to engage in exercise – including running, wrestling and throwing the discus and javelin – and to challenge boys. However, this may be a scene of courtship...
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