Leaving the Bath - Edgar Degas
Archival giclée
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Description
A delicate etching by Edgar Degas capturing a candid moment of a woman at her toilette, rendered with expressive line work and atmospheric shadow.
This work, titled Leaving the Bath, captures a private moment of a woman at her toilette. Edgar Degas, a central figure in the Impressionist movement, frequently explored the theme of women in domestic settings, often focusing on the mundane actions of bathing or dressing. His approach to these subjects avoids the idealised poses common in academic art of the period, opting instead for candid, unposed observation.
The composition relies on the interplay between light and shadow, achieved through the delicate application of etching and drypoint techniques. The figure is partially obscured by the fabric of a towel, creating a sense of movement and fleeting presence. Degas uses varied line weights to define the form of the woman against the darker, more textured background of the room. The sparse environment directs the viewer's attention to the gesture and the tactile quality of the materials depicted.
Degas was deeply interested in the technical possibilities of printmaking. He often experimented with different states of a plate, layering marks to create depth and atmosphere. This particular print demonstrates his ability to convey a sense of intimacy without resorting to sentimentality. The focus remains on the formal qualities of the scene, such as the way light catches the fabric and the posture of the subject. By stripping away unnecessary detail, Degas invites the viewer to observe the quiet reality of the scene. The work reflects his broader interest in capturing the human form in motion, a preoccupation that informed much of his output across various media, including painting, sculpture, and drawing. This print serves as a clear example of his mastery over line and tone, demonstrating how he could transform a simple domestic act into a study of light and form.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
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- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Leaving the Bath - Edgar Degas
Artist Biography
Edgar Degas
More than half of his entire output depicts dancers. He became a fixture at the Paris Opera, watching from the wings and from boxes above the stage, sketching not the performance but the work behind it: the stretching, the waiting, the adjusting of shoes, the corrections from the ballet master. The backstage fatigue interested him more than the applause.
In 1881, he exhibited Little Dancer Aged Fourteen, a two-thirds life-size wax figure of Marie van Goethem, a real student at the Opera ballet school. She wore a real tutu, real ballet slippers, and a wig of human hair, all coated in wax. Critics called it repulsive. One described the girl as having a face marked by the hateful promise of every vice. Wax was a material for anatomical specimens, not art. It was the only sculpture he exhibited in his lifetime. After his death, 150 more wax figures were found in his studio, many falling apart.
His eyesight began failing during the Franco-Prussian War. By his forties he had lost central vision. By fifty-seven he could not read. The deterioration drove him from fine brushwork to bolder strokes, then to pastels, then to sculpture he could work by touch. He avoided daylight and painted under controlled artificial light. Collectors joked they should chain their Degas paintings to the wall, because he would try to take them back to rework them. He compulsively revised everything.
He disliked being called an Impressionist. He preferred Realist or Independent. He never painted outdoors, which was supposedly the whole point of the movement. Despite this, he co-founded the group, organised their exhibitions, and showed in all eight. He said: there is love and there is art and we only have one heart. He never married.
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