Edgar Degas

Sale: Galeries Georges Petit, Paris, 3ème Vente Atelier Edgar Degas, 7th-9th April 1919, lot 271
Durand-Ruel, Paris (purchased at the above sale)
Acquired from the above by the father of the present owner in 1954

Executed on a sheet of tracing paper laid down on card, hinged to mount at the top, left and right edges. There are some slight creases in the upper left corner and some minor undulations in the upper right quadrant and lower left corner intrinsic to the laying down process.There are slight remnants of glue and a few small paper losses at the extreme edges of the work due to previous mounting. Apart from some slight time staining and studio dirt throughout the sheet, this work is in good condition. Colours: The paper tone is slightly warmer in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Femme s'essuyant is a remarkable example of one of Degas' most iconic subjects of his œuvre: that of a female nude captured in a private moment, at her toilette. Degas' approach to this subject was one of great intensity and intimacy, inviting the viewer to a voyeuristic experience of watching a woman, nude or semi-nude before or after her bath.

The artist preferred to portray his nudes fully absorbed in their activity unaware of being observed. In the present work, the sense of privacy is emphasised by the artist's favourite viewpoint, depicting the subject from the back, without revealing her identity.

The artist represents his models in contorted and twisted poses as they performed the everyday tasks of their toilette. In the present work, Degas explores one of his favourite and most challenging poses of the bather series. The model is depicted seated on the edge of a bathtub while leaning over to dry her shins and ankles.

The body is drawn with assurance. Whilst alternating between gentle hatching, thick shading and free-flowing lines, the artist softens and emphasises curves and brilliantly creates an initimate dynamic focused on the centre of the composition.

'Descriptive detail is ignored; what matters are the way the shapes live together and the energy of their interaction. (Robert Gordon & Ansrew Forge, Degas, London, 1988, p. 244)