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Before us are two self-portraits of the great artist Edgar Degas. Why two self-portraits at once? They are simply made in different years. At the first self-portrait, Degas is still young and inexperienced, and he still has everything ahead and he still has a lot to go through and bear all the hardships of fate. Work on masterpieces, disappointments from destiny and in personal life of sorrow and victory is still ahead. Everything is ahead and therefore his face is calm and confident. That's just the eyes are terribly sad. But at the same time, young Degas already has tassels in their hands, which means that the glorious path of the great painter has already begun and he is almost on the verge of his fame.
And what about the second self-portrait? All the same Degas, but only in middle age. A different look, a different posture. He already shows us that he has become a very important person. It does this with a formal suit and a cylinder in his hands. It turned out unobtrusively and quite structurally true. But ... Again the look, he became even sadder.
This gaze tells us only one thing: having become a popular, famous artist, he did not become a happy person. And all this noble tinsel around him is nothing more than a simple Christmas tinsel - today there is, and after the holidays - in a box. But at the same time it is clear that he is already a family man - he gives out a look: beard, bodyfulness. But there are no more brushes in the hands. Only by pose and suit does he tell us that he has achieved prosperity and this is perhaps the only thing he has managed to acquire in all his years.
It is evident that Edgar Degas is still merciless to himself, he writes himself as he is, does not allow himself to be deceived. Although in fact his path of the creator was probably the most sophisticated, and he was well-known at the time, and now he is remembered and loved by lovers of the beautiful. These self-portraits are perhaps the most impeccably executed and do not give the viewer the illusion of the artist’s happiness.
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