HILAIRE GERMAIN EDGARD See also:

• HILAIRE GERMAIN EDGARD DEGAS (1834- )

DEGAS (1834- )  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris on the 19th of See also:

• JULY

July 1834 . Entering in 1855 the Ecole See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

Beaux Arts, he See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• DEVELOPED

developed See also:

• INDEPENDENCE
• INDEPENDENCE, DECLARATION OF
• INDEPENDENCE, WAR OF

independence of See also:

• ARTISTIC

artistic outlook, studying under Lamothe . He first exhibited in the See also:

• SALON

Salon of 1865, contributing a " See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War in themiddle ages," a See also:

• WORK

work executed in See also:

• PASTEL

pastel . To this See also:

• MEDIUM

medium he was ever faithful, using it for some of his best work . In z866 his " See also:

• STEEPLECHASE

Steeplechase " revealed him as a painter of the racecourse and of all the most See also:

• MODERN

modern aspects of See also:

• LIFE

life and of Parisian society, treated in an extremely See also:

• ORIGINAL

original manner . He subsequently exhibited in 1867 " See also:

• FAMILY

Family Portraits," and in 1868 a portrait of a dancer in the " See also:

• BALLET

Ballet of La Source." In 1869 and 187o he restricted himself to portraits; but thenceforward he abandoned the Salons and attached himself to the Impressionists . With See also:

• MANET, EDOUARD (1832-1883)

Manet and See also:

• MONET, CLAUDE (184o- )

Monet he took the See also:

• LEAD
• LEAD (pronounced iced)

lead of the new school at its first See also:

• EXHIBITION

exhibition in 1874, and repeatedly contributed to these exhibi, tions (in 1876, 1878, 1879 and 188o) . In 1868 he had shown his first study of a dancer, and in numerous pastels he proclaimed himself the painter of the ballet, representing its figurantes in every attitude with more See also:

• CONSTANT, BENJAMIN (1845-1902)

constant aim at truth than See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace . Several of his See also:

• WORKS

works may be seen at the Luxembourg See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, to which they were bequeathed, among a collection of impressionist pictures, by M . Caillebotte . In 188o See also:

• DEGAS, HILAIRE GERMAIN EDGARD (1834- )

Degas showed his See also:

• POWERS, HIRAM (1805-1873)

powers of observation in a set of " Portraits of Criminals," and he attempted modelling in a " Dancer," in See also:

• WAX

wax . He afterwards returned to his studies of the sporting See also:

• WORLD

world, exhibiting in See also:

• DECEMBER (Lat. decent, ten)

December 1884 at the See also:

• PETIT, SIR DINSHAW MANECKJI, BART

Petit Gallery two views of " Races " which had a See also:

• GREAT

great success, proving the increasing See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue of the artist among collectors .

He is ranked with Manet as the See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

leader of the " impressionist school." At the eighth Impressionist Exhibition, in 1886, Degas continued his realistic studies of modern life, showing drawings of the nude, of workwomen, and of jockeys . Besides his pastels and his paintings of genre and portraits—among these, several likenesses of Manet—Degas also handled his favourite subjects in See also:

• ETCHING (Dutch, etsen, to eat)

etching and in See also:

• AQUATINT (Lat. aqua, water, and tincta, dyed)

aquatint; and executed several lithographs of " Singers at Cafes-See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert," of " Ballet-girls," and indeed of every possible subject of See also:

• NIGHT

night-life and incidents behind the scenes . His work is to be seen not only at the Luxembourg but in many of the great private collections in Paris, in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England and See also:

• AMERICA

America . In the See also:

• CENTENARY (from Lat. centenarius, of or belonging to a hundred, from centeni, distributive of centum, hundred)

Centenary Exhibition of 1900 he exhibited " The Interior of a See also:

• COTTON
• COTTON (Fr. coton; from Arab. qutun)
• COTTON, CHARLES (163o–1687)
• COTTON, GEORGE EDWARD LYNCH (1813–1866)
• COTTON, JOHN (1585–1652)
• COTTON, SIR ROBERT BRUCE

Cotton-See also:

• BROKER (according to the New English Dictionary, from Lat. brocca, spit, spike, broccare, to broach "—another Eng. form of the same word; hence O. Fr. vendre d broche, to retail, e.g. wine, from the tap, and thus the general sense of dealing; see also for

Broker's See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

Office at New See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans " (belonging to the Museum at See also:

• PAU

Pau) and " The See also:

• REHEARSAL (from " rehearse," to say over again, repeat, recount, O.Fr. rehercer, from re, again, and hercer, to harrow, cf. " hearse," the original meaning being to rake or go over the same ground again as with a harrow)

Rehearsal." See also G . See also:

• MOORE, A
• MOORE, ALBERT JOSEPH (1841–1893)
• MOORE, EDWARD (1712–1757)
• MOORE, GEORGE (1853– )
• MOORE, GEORGE FOOT (1851– )
• MOORE, HENRY (1831–1895)
• MOORE, JOHN (1729-1802)
• MOORE, SIR JOHN (1761-1809)
• MOORE, THOMAS (1779-1852)

Moore, " Degas, the Painter of Modern Life," See also:

• MAGAZINE

Magazine of See also:

• ART

Art (189o); J . K . See also:

• HUYSMANS
• HUYSMANS, JORIS KARL (1848–1907)

Huysmans, Certains (Paris, 1889); G . See also:

• GEFFROY, MATHIEU AUGUSTE (1820-1895)

Geffroy, La See also:

• VIE

Vie Artistique (3a Serie, Paris, 1894) . DE GEER, See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

LOUIS See also:

• GERHARD
• GERHARD, FRIEDRICH WILHELM EDUARD (1795-1867)

GERHARD, See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

BARON (1818-1896), See also:

• SWEDISH

Swedish statesman and writer, was born on the 18th of July 1818 at Finspang See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

castle . He adopted the legal profession, and in 1855 became See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president of the See also:

• GOTA

Gota Hofret, or See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

lord See also:

• JUSTICE (Lat. justitia)

justice of one of the Swedish supreme courts . From the 7th of See also:

• APRIL

April 1858 to the 3rd of See also:

• JUNE

June 187o he was See also:

• MINISTER (Lat. minister, servant)

minister of justice . As a member of the Upper See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House he took See also:

• PART

part in all the Swedish Riksdags from 1851 onwards, though he seldom spoke .

From 1867 to 1878 he was the member for See also:

• STOCKHOLM

Stockholm in the first chamber, and introduced and passed many useful reformatory statutes; but his greatest achievement, as a statesman, was the reform of the Swedish representative See also:

• SYSTEM

system, whereby he substituted a bi-cameral elective See also:

• PARLIAMENT (Anglo-Lat. parliamentum, Fr. parlement, from parler, to speak)

parliament, on modern lines, for the existing cumber-some See also:

• REPRESENTATION

representation by estates, a survival from the later See also:

• MIDDLE

middle ages . This great measure was accepted by the Riksdag in December 1865, and received the royal See also:

• SANCTION (Lat. sanctia, from sancire, to decree or ordain)

sanction on the 22nd of June 1866 . For some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time after this De Geer was the most popular See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man in See also:

• SWEDEN
• SWEDEN [Sverige]
• SWEDEN, NORWAY AND

Sweden . He retired from the See also:

• MINISTRY

ministry in 187o, but took office again, as minister of justice, in 1875 . In 1876 he became minister of See also:

• STATE
• STATE, GREAT OFFICERS OF

state, which position he retained till April 188o, when the failure of his repeated efforts to See also:

• SETTLE
• SETTLE, ELKANAH (1648–1724)

settle the armaments' question again induced him to resign . From 1881 to 1888 he was See also:

• CHANCELLOR (M. Eng. and Anglo-Fr. canceler, chanceler, Fr. chancelier, Lat. cancellarius)

chancellor of the See also:

• UNIVERSITIES

universities of See also:

• UPSALA, or UPPSALA

Upsala and See also:

• LUND
• LUND, TROELS FREDERIK (1840- )

Lund . Besides several novels and aesthetic essays, De Geer has written a few See also:

• POLITICAL

political See also:

• MEMOIRS

memoirs of supreme merit both as to See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and See also:

• MATTER

matter, the most notable of which are: Minnesteckning ofver A . J. v . See also:

• HOPKEN, ANDERS JOHAN, COUNT VON (1712—1789)

Hopken (Stockholm, 1881); Minnesteckning bfver Hans Jarta (Stockholm, 1874); Minnesteckning ofver B . B. von Platen (Stockholm, 1886); and his own Minnen (Stockholm, 1892), an autobiography, invaluable as a See also:

• HISTORICAL

historical document, in which the political experience and the matured judgments of a lifetime are recorded with singular clearness, sobriety and See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm . See Sveriges historia (Stockholm, 1881, &c.), vi.; Carl Gustaf Malmstrom, Historiska Studier (Stockholm, 1897) . (R .

N .