Portrait of Célestine Fèvre 1867

Editor: This is Edgar Degas's 1867 pencil drawing, "Portrait of Célestine Fèbvre." It feels like a very intimate and delicate study. What compositional elements stand out to you? Curator: The drawing is certainly defined by its economy of line. Degas uses a remarkably limited number of strokes to define the planes of the face and the form of the sitter. Consider how the subtle variations in pressure and direction create volume, especially around the cheek. Editor: Yes, the cheek seems almost sculptural, even though it’s just pencil on paper. Do you think the sketch-like quality detracts from it as a finished work? Curator: On the contrary, the open, unfinished quality heightens the sense of immediacy. Look at how the lines almost float on the page. This effect draws attention to the act of drawing itself, to the artist's hand and his decisions in capturing a likeness. Is this portrait, therefore, about representing a person or about drawing? Editor: I hadn't thought about it that way, but focusing on the line makes it more about the process of art-making. I see how his style affects meaning and mood, like in other impressionist works. Thank you. Curator: Precisely. The emphasis on process transforms the seemingly straightforward subject matter. And with this portrait, line and form triumph over representation.