Introduction: At the 8 ‘impressionist’ expositions held from 1874-1886 in Paris sometimes there were art-works exhibited made by mixed techniques. Namely Edgar Degas did so. The art-works that were partly drawings and partly pastel you will find at the overview of pastels. Note: If you double click on the first picture and then click on full screen, you can create a slideshow. On a smartphone or laptop you can also zoom in. Enjoy!
Edgar Degas, 4IE-1874-58, Départ de course, esquisse, dessin. Compare: 1860-62, CR76, At the Races, the Start, 32×46, Harvard Cambridge (iR2;R26,no164;R2,p120;R114,no76;M32)
Edgar Degas, 1IE-1874-59, Faux depart, dessin =?? 1869-72, CR262, Le défilé (Racehorses in front of the stands), thinned oil, 46×61, Orsay (iR10;iR64;iR2;iR23;R26,no194;R90II,p7;R2,p120;M1)
Edgar Degas, 1873-74, CR340, Salle de danse (ballet rehearsal on stage), grisaille, 65×81, Orsay (iR2;iR59;iR23;R26,no470;R90II,p7+22;R90I,p37;M1) =? 1IE-1874-60, Répétition de ballet sur la scène, dessin; appartient à M. Mulbacher. Probably not: 2IE-1876-44, Salle de danse (R2,p174;R90II,p35)
Edgar Degas, 1IE-1874-62, après le bain, étude, dessin =? 1875-76ca, CR376, Women Combing Their Hair, thinned oil, 32×46, PC Washington (iR2;R26,no397;R90II,p7;R2,p120;M29)
Edgar Degas, 2IE-1876-39, portrait de femme, ébauche =!? 1869, CR213, Mme Theodore Gobilllard, nee Yves Morisot, 55×65, Metropolitan (iR2;iR59;R90II,p48+34;R26,no249;M23)
Edgar Degas, 2IE-1876-40, Cour d’une maison (Nouvelle-Orléans, esquissé) = CR309, 1872-73, Children on a Doorstep, 60×75, OC Copenhagen (iR2;R26,no346;R90II,p34+49;R2,p161;M93)
Edgar Degas, 1875-80, CR388, Danseuse rajustant son chausson, thinned oil + sepia on pink paper, 40×32 (or 80×64), Axx (iR10;iRx;iR64;iR42;iR138;R90II,p50+35;R26,no495;R90I,p86+290) =? 2IE-1876-51, Divers croquis de danseuses
Edgar Degas, 18xx, Sbr, Danseuse, vue de dos, les mains sur les hanches, peinture à l’huile et à l’essence, blanc (rehaut), papier (rose), pinceau, 37×26, Louvre / Orsay (iR377;iR23;M5a;M1;R90II,p50+35;R90I,p86+290) =!? 2IE-1876-51, Divers croquis de danseuses
Edgar Degas, 2IE-1876-54, Blanchisseuse. Compare: 1876ca (1887ca), CR685, Woman Ironing, thinned oil, 81×66, NGA Washington (M21;iR2;iR8;R26,no597;R2,p161;R90I,p58)
Edgar Degas: 1876-77, CR890, Woman drying herself after the bath (Woman at her toilette), pastel over monotype, 46×60, NSM Pasadena (iR2;R90II,p73+91;R26,no932;R114,no890;M43) =? 3IE-1877-46, Femme prenant son tub le soir =?? 2IE-1876-55, Femme se lavant le soir
Edgar Degas, 3IE-1877-37, Femmes devant un café, le soir; appartient à M. C. = 1877, CR419, Women on a Café Terrace in the Evening, pastel over monotype, 41×60, Orsay (iR2;iR59;R26,no430;R90I,p181;R90II,p72+89;R27,p42;R2,p204+197;M1) Caillebotte bequest.
Edgar Degas: 3IE-1877-39, Ballet =? 1878, CR491, The star (dancer on a stage), pastel over monotype, 58×42, Orsay (iRx;R26,no520;R90II,p72+89;R90I,p163;R2,p204;M1) Caillebotte bequest.
Edgar Degas, 3IE-1877-40, Danseuse, un bouquet à la main = 1877, CR418, Dancer With Bouquet, pastel + gouache + thinned oil (tempera), 67×38, Orsay (iR53;iR59;R26,no499;R90I,p186;R2,p204;R90II,p72+90;M1)
Edgar Degas, 3IE-1877-41, Danseuse à la barre. Option 2: 1876-77, CR408, Dancers Practicing at the Barre, thinned oil, 75×80, Metropolitan (iR2;iR59;R90II,p72+90;R2,p204+217;R26,no497;R114,no408;M23). Rouart collection (R45).
Edgar Degas: 1876-77, CR404, The Cafe Concert, pastel on monotype, 24×43, NGA Washington (M21;iR2;R26,no411;R2,p204+354+360;R90II,p72+90) =!? 3IE-1877-43, Café-concert =? 6IE-1881-19+hc3-2, (Drawings and sketches: Chanteuses en scène)
Edgar Degas: 3IE-1877-44, Café-concert =!? 1875-77ca, CR405, Café Concert at ´Les Ambassadeurs´, pastel over monotype, 37×27, MBA Lyon (iR2;iR59;R26,no413;R2,p204+354;R90II,p73+90) =? 6IE-1881-19+hc3-1, (Drawings and sketches: Chanteuses en scène). Note the effect of light and the low perspective.
Edgar Degas, 3IE-1877-45, Femme sortant du bain; appartient à M. C. =!? 1877ca, CR422, Woman Leaving Her Bath, pastel on monotype (lithograph), 16×22 (23×31), Orsay (iR2;R26,no427;R90II,p73+90;R2,p204+195;R114,no422;M1) Caillebotte bequest.
Edgar Degas, 3IE-1877-47, Choristes; appartient à M. C. = 1877, CR420, The Chorus (Les Figurants), pastel over monotype, 27×31, Orsay (iR2;iR59;R90II,p73+91;R26,no416;R114,no420;R2,p204;M1) Caillebotte bequest.
Edgar Degas, 3IE-1877-50, Bains de mer, petite fille peignée par sa bonne = 1870-77ca, CR406, Beach Scene, thinned oil, 46×81, NG London (iR2;iR59;R26,no410;R90II,p73+91;R2,p204+201;M61)
Edgar Degas: 1875-76 (+1880s), CR377, Peasant Girls Bathing in the Sea at Dusk, 65×81, NG London (iR2;R26,no396;R114,no377;R90II,p36+50;73+91;R2,p204+161+176;M61) =2IE-1876-56, Petites paysannes se baignant à la mer vers le soir (probably not exhibited) = 3IE-1877-51, Petites filles du pays se baignant dans la mer à la nuit tombante (maybe not exhibited)
Edgar Degas, 1877-78ca, CR448, Two Dancers Entering the Stage, pastel over monotype, 32×29, Harvard Cambridge (iR2;R26,no506;R2,p204;R90II,p73;R90I,p181;M32) Compare: 3IE-1877-52, Coulisses de théâtre
Edgar Degas, 3IE-1877-56, Cabinet de toilette =!? 1879ca, CR547, Woman squatting, pastel over monotype, 18×13, Orsay (iR2;iR10;iR23;R26,no868;R90I,p173;R90II,p73+92;R2,p204;M1) =Caillebotte bequest
Edgar Degas, 1878ca, CR490, Dancer with a bouquet of flowers (The Star of the ballet), p+g, 81×66, JPGM Los Angeles (iR53;R26,no519;R2,p204;R90I,p164;M31) =?? 3IE-1877-57, Ballet
Edgar Degas, 3IE-1877-58, Dessins faits à l’encre grasse et imprimés =?? 1876-77ca, Ludovic Halevy Speaking with Madame Cardinal, pastel on monotype, 27×18, private (iR2;R2,p204;R90II,p74)
Edgar Degas: 4IE-1879-70, Chanteuse de café (pastel); appartient à M. C. G… =1878, CR478bis, Chanteuse de café (au gant), the singer with the glove, pastel+tempera, 53×41, FAM Cambridge (iR6;R90II,p72+111+129;R2,p268;R26,no448;R114,no478bis;M32) =? 3IE-1877-42, Chanteuse de café-concert (maybe not exhibited)
Account: In 1874Degas his drawings probably were made of mixed techniques, at least no.62., maybe also no.58 +59 +60. So in total there were maybe 4 art-works exhibited made with mixed techniques, about 2% of the total amount of art-works.
In 1876Degas probably exhibited 2 drawings with thinned oil (no.51), maybe no. 55 was a pastel on a monotype print; for no.54 he used thinned oil (and maybe also for nos 39 +40 +56), but I will count them as normal oil paintings. So in total there were probably 3 art-works exhibited made with mixed techniques, about 1% of the total amount of art-works.
In 1877Degas exhibited according to the catalogue 3 monotypes (no.58-60), but in reality the nos. 37+39+43+44+45+46+47+56 also were monotypes reworked with pastel. I count them all as mixed techniques. No.40 of Degas was a pastel reworked with thinned oil. No. 41 + 50 were made of thinned oil, I count them as normal oil paintings. The work I render to compare for no.52 is made of monotype and pastel; the very uncertain suggestion I render for no. 57 is made of pastel and gouache; because of the uncertainty I don’t count them with mixed techniques. No.59+60 were not or hardly reworked with pastel, I count them as engravings. So in total there were probably 10 art-works exhibited made with mixed techniques, about 4% of the total amount of art-works.
In 1882 no.136 of Pissarro is indicated as détrempe (=tempera), I assume he used mixed techniques; this 1 work is less than 1% of the total.
Sources:
Note: the given suggestions vary from certain (=!), to almost certain (=?!), to uncertain (=?), to very uncertain (=??), to most uncertain (=???), to compare (=compare:) another work of the artist, to compare with a similar work from another artist or even a photo. Sometimes I have no suggestion at all. See the accounts of the partaking artists in the left menu (or at the bottom).
My main sources are the catalogues of the 8 ‘impressionist’ expositions as rendered by Moffett (1986=R2), Berson (1996=R90I) and the Salon database (iR1). See the link for other general References (=Rx) and to the internet references (=iRx). See links for practical hints and abbreviations and for the subscription of the paintings.
