Degas, At the Races in the Countryside

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Degas, At the Races in the Countryside발음듣기

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It's often the case that when you're travelling with a baby, it demands a lot of attention.발음듣기

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And that's what's happening in this small painting by Degas called "At the Races in the Countryside."발음듣기

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That infant is clearly the center of this family's attention.발음듣기

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And their dog's attention too!발음듣기

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Yes, it's true.발음듣기

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In fact, it only looks like the horses are perhaps not paying attention.발음듣기

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So it's such an interesting composition.발음듣기

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It's Degas at his most playful.발음듣기

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We see a painting that seems as if it is uncomposed, as if it were almost a snapshot.발음듣기

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And that's what Degas is so good at.발음듣기

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Making his paintings, which are so carefully composed, seem as though it would seem that he just happened to come upon.발음듣기

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And I think we're used to this because of photography.발음듣기

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But in the 19th century, this would've been pretty outrageous.발음듣기

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I mean, look at the way he's cropped the wagon wheels.발음듣기

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He's cropped the horses, they don't have the bottom of their legs.발음듣기

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And then he gets even more playful.발음듣기

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Not only is the family group pushed a little bit too far to the right, but then there's this very large special gap as we move into the middle ground, where the figures are really small.발음듣기

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I'm particularly fond of the way that little horse seems to just be standing on the back of the carriage.발음듣기

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Or there's another tiny figure that seems to be perched on the back of the brown horse in the foreground.발음듣기

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This incongruity is what the Academy would, off course, have never allowed, but that Degas seems to really relish.발음듣기

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And in academic painting, we expect things to make sense.발음듣기

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We expect all the forms to be included whole, within the frame of the painting, we expect to be able to read a recession into space, so that, for example, those figures that look so small would make sense and we would understand the distance between the foreground and the background.발음듣기

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But here Degas has painted a flat green expanse that we can't really read as depth.발음듣기

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But off course, the most interesting part of this painting for me is contained within the carriage itself.발음듣기

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It's the family and their interaction.발음듣기

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It's really very sweet.발음듣기

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There is all of that attention on the infant and whether it's going to eat, and whether it's going to stop being fussy.발음듣기

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Historically, upper-class women often didn't nurse their own children.발음듣기

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They would hire women who were known as wet nurses, who would nurse infants.발음듣기

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So a very intimate kind of nanny, you could say.발음듣기

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I think so.발음듣기

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And actually, you can see her breast is exposed and all of the figures are looking down at the child, so issues of class are very much built into this painting.발음듣기

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An upper-class woman would certainly not reveal herself in this way.발음듣기

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The wet nurse is, in a sense, an accoutrement of the life of the upper class, very much the way that little black boxer is as well, that little dog.발음듣기

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The dog and the family that it belongs to appear very aristocratic to me.발음듣기

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The dog appears like a very specific breed and is sitting kind of upright, and the man has a top hat on and is clearly very well dressed, his wife is very well dressed, and that does contrast with the informality of the working-class wet nurse that we see.발음듣기

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And off course we're in an environment which is about horse racing.발음듣기

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This is at a time when horse racing was an extremely privileged sport, so we are in this very genteel and very fashionable environment.발음듣기

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Yet we have this moment of informality within that.발음듣기

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We have a scene of modern upper-class leisure and this is a very typical Impressionist subject.발음듣기

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And it's an entirely new subject.발음듣기

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It is really the beginnings of what we consider modern art, a kind of embracing of the real urban world of Paris in the second half of the 19th century.발음듣기

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