A selected annotated bibliography on Edgar Dega's Singer in Green Research Paper

A selected annotated bibliography on Edgar Dega's Singer in Green - Research Paper Example Degas illuminates his subjects from below. Shckenkel also argues that Degas has depicted his artistic knowledge using coarse hatchings that suggests the existing backdrop behind the singer herself. According to this author, Degas had a deep meaning behind this style of art. He says that the subject matter of the Artist mainly represented the modern approach. He also states that Degas had a great interest in the portrayal of romance as a major theme of his work of art. His intended message of this image is also facilitated or backed up by his claim that Degas had absorbed her artistic tradition outside people’s influences and later reinterpreted them in various innovative and inventive ways. He created and came up with a lot of information from a single work of art. From the art, it is evident, according to the author that Degas did an experiment with various techniques, thus breaking up the existing surface textures with hatching. He also contrasted the dry pastel with a wet o ne. Degas used watercolors and gouache in the softening of the contours of the figure. Degas, in this concept, is seen as an experienced artist in the use of colors to decorate hi artworks. He uses vivid yellow, orange, and turquoise, which area all features of saturated hues and complementary colors with which other several artists in his circle began to experience during the mid-1880s. The posture of the picture shows that Degas used the modern artistic styles. It is actually the same as the current postures taken by most live performing artists. Reff, Theodore. The Pictures within Degas’s Pictures. Columbia: Columbia University Press, 2004. Print. Theodore affirms that Degas applied Venatian art in the creation of the picture. His painting styles with the use of several colors are an indication of the use or application of the mentioned art that was popular during the mid-1860s. He says that the appearance of the picture was because of various works of other artists such a s Tintoretto, Giorgione, and Veronose. Like other works of Degas such as Finding of Moses, Theodore asserts that most of the art styles used in the picture, were that of Tissot who wrote to him, â€Å"L’Assomtion du Titien m’a laisse froid-le Tintoret de Saint- Marc piquant une tete m’a bien†¦Ã¢â‚¬  Theodore goes ahead to explain the history of Degas artistic knowledge that he used in the making or compilation of the picture. He says that the knowledge on the use of colors in the decoration of the picture came from Venatian first, before it; Tissot got it and later shared it with Tissot. He says that, through this, Degas managed to create the picture that was remarkably varied in styles and subjects. The skills he gained through these early artists also helped him come up with juxtaposition in photos. He asserts his beliefs in the existing relevance of modern art. To verify the issue of modernity, Theodore talks of the realism of European paintings and th e artificiality of the Japanese prints. The curving of the hand in the picture, the paintings, the textures and the posture, are all original works of other artists during the renaissance era that was adopted by Degas during the creation of the artworks. Reff, Theodore. Degas: A master among Masters. Columbia: Columbia University Press, 2001. Print. In this article, Theodore still discusses the styles that Degas used in the picture. He talks of many aspects of the pictures, in terms of its composition and making styles. She refers to one of the known and popular statements that Degas made