Degas at the Races: Sculpture

Horse at Trough, early 1860s, red wax, Virginia Museum of Fine Arts, Collection of Mr. And Mrs. Paul Mellon previous next back to sculpture

Horse at Trough is considered one of Degas' earliest works of horse sculpture, made in the 1860s. Its brown wax with red highlights, its transparency and sheen, and its light rippling and reflecting off of Degas' surface modeling of the wax create a strong impression of the horse's flesh or skin.

Degas' materials and techniques were critical to the look of his wax sculpture. Degas' "wax" was actually a composite of materials, for he worked with modeling clay and plastilene (a clay with oil in it so it doesn't harden); he then covered the surface with wax, which is transparent, easily modeled, and keeps clay from drying out. Sometimes Degas added starch to his wax to give it more bulk. He also added pigment to the honey-colored beeswax.

Study the horse's mane to see Degas' hand modeling. The hairs have been individually delineated with various modeling tools. The horse's mouth is articulated, as are the indentations for the eyes and nostrils. This attention to detail is characteristic of academic work, although animal sculptors (called animaliers) working at the same time produced pieces so detailed that they approximate sculptural photographs.

In his later works Degas progresses from a labor-intensive, structured manner to a more fluid, loose sculptural style. You will see that change, both in his handling and finishing of materials.