Self Portrait - Edgar Degas
Archival giclée
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Description
An early, formal self-portrait by Edgar Degas, showcasing his technical skill and classical training before his transition to Impressionism.
This early self-portrait by Edgar Degas, painted around 1855, captures the artist during his formative years. At this stage in his career, Degas was deeply engaged with the traditions of the Old Masters, particularly the works he studied during his frequent visits to the Louvre. The composition reflects a disciplined approach to portraiture, far removed from the experimental, cropped perspectives that would define his later Impressionist works.
The artist presents himself with a serious, contemplative expression. He is dressed in a dark, formal coat, which merges into the deep, monochromatic background. This choice of palette focuses the viewer's attention entirely on his face and the subtle play of light across his features. His gaze is direct, suggesting a moment of introspection. The brushwork is controlled and precise, demonstrating his early technical proficiency and his adherence to the academic standards of the mid-nineteenth century.
Unlike his later depictions of dancers or racecourse scenes, this work is static and formal. It provides a rare glimpse into the artist's persona before he became associated with the Impressionist circle. The painting is a study in light and shadow, where the darkness of the clothing and the background creates a sense of volume and presence. The inclusion of a brush in his hand serves as a quiet acknowledgement of his profession, grounding the portrait in his identity as a painter. This work remains a clear example of his early technical development, showing the influence of Ingres and the classical tradition that he would eventually move away from as his own unique style matured.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
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.
Care and materials
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
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
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
Self Portrait - 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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