Edgar Degas drawings

The digital catalogue raisonné of the 1694 drawings by Degas that we are publishing naturally complements the one of the 1812 paintings and pastels already online. Never undertaken before, this catalogue raisonné enhances our knowledge of an artist for whom drawing was a major art form. Isn't his passion for Ingres proof of this? Through the variety of subjects and techniques, Degas gives drawing an essential place in his art, often at the basis of his projects and their evolution. Like the digital catalogue raisonné of paintings and pastels, the one for drawings is regularly expanded and updated. It includes all the subjects he treats in his paintings and pastels. More than 1200 drawings were found in his studio in December 1917 and were inventoried. They were then published and reproduced in the four catalogues of the posthumous sales of 1918-1919. Generally unsigned, they were stamped after these sales. This leads us to believe that Degas did not trade them, as his paintings and pastels were more sought after at the time. Our estimates are currently based on the inventories (Succession Degas, Nepveu-Degas) and on the four posthumous sales. During the sales, drawings were sold in lots, not described and not reproduced, which complicates any estimation, especially since the same stamps from the posthumous sales were also affixed to these separately sold drawings.

The estimates we publish below reflect our current knowledge. Of the 1694 drawings, half represents almost all public collections. Nearly 44% are in private collections, with the remainder in unknown locations. Regarding themes, portraits are the most numerous, followed in order by dancers, horses, bathers, then landscapes, working women, and musical subjects. These are the themes we have retained to catalogue Degas's work. Important sources of information, the sketchbooks or albums are integrated into our catalogue raisonné and are held at the Bibliothèque nationale de France, the Musée d'Orsay, the Morgan Library, the Getty Museum and the Metropolitan Museum.

This catalogue raisonné of drawings takes into account the progress of our research; estimates can therefore only evolve. This is the whole point of a digital publication.

This work provides an overview of Degas's oeuvre: for example, on his signed or unsigned works, on those bearing or not bearing one of the stamps from the various sales, on the often preferential use of gray paper and on the frequent distortion of his subjects.

I warmly thank the Galerie de Bayser for opening their precious Degas archives to me, which contributed to the completion of this publication. My thanks also go to Georges Levet, who carried this project with patience and determination alongside me. I am also grateful to the Musée d'Orsay for the gracious use of their photographs, to the Galeries Berès and Gautier-Talabardon, and to Caroline Balcon, archivist at the Hôtel Drouot. My heartfelt thanks to all.