Opis
Edgar Degas's "Study for Semiramis Building Babylon," painted in 1861, offers a fascinating window into the creative mind of one of the most influential Impressionist masters of the 19th century. Although Degas is typically recognized for his depictions of ballerinas, scenes of modern life, and his innovative approach to movement, this study reveals both the versatility of his technique and his interest in historical and mythological subjects.
Looking at the composition, one is immersed in a monumental, architectural setting, which seems to capture a vision of ancient Babylon. This canvas is a sketch of what could have been a larger, more ambitious work, underlining Degas’ working process, which often involved multiple sketches and studies before arriving at a definitive final piece. This work reflects the era’s Romantic fascination with classical history and the grandeur of past civilizations, a theme that would resonate throughout Romanticism, but which Degas incorporates within an aesthetic that would later be closely associated with Impressionism.
The use of colour in this painting is particularly notable. The palette is composed of muted earthy tones and ochres, evoking the sense of antiquity and decay, characteristics associated with an archaeological landscape. Degas applies his mastery in the manipulation of light to give depth to the work, suggesting shadows that give volume to the structures and a sense of grandeur to the whole. The visual guidance offered by the use of colour is fundamental; warm tones seem to radiate from the core of the work, while cooler shadows settle at the bottom, which also generates a dynamic that leads the eye to explore the rest of the composition.
The human figures in “Study for Semiramis Building Babylon” are few in number and, in fact, are rendered lightly and schematically, suggesting that Degas may have placed more emphasis on the architecture than on the personal narrative. This stylistic choice makes the landscape the main character, a less common approach compared to his later works where the human figure is at the centre of interest. Nevertheless, the suggestion of human activity – through the poses and the inclusion of the figures, albeit abstract – can be interpreted as an evocation of progress and movement in a historical context.
This study reflects not only Degas’ technical skill, but also his ability to evoke cultural context through form and color. Although many associate Degas with a more dynamic depiction of ordinary life, this work seems to capture a moment of contemplation about history, a turning point in his career that led him to explore beyond representations of contemporary experience. Ultimately, “Study for Semiramis Building Babylon” is a testament to Degas’ multifaceted character as an artist, revealing his concerns in fusing history, form, and coloration in a work that, while limited, provokes deep interest and reflection.
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