The Degas Plasters: Groundbreaking revelations about Degas’ sculpture and the Hebrard bronzes

Seventy-four original plasters of sculptures by Edgar Degas were moved to the old Valsuani foundry in Paris in 1955 and reappeared in France in 2004. These plasters are now being published for the first time, presenting new documentary and physical evidence regarding their dating following an in-depth analysis into the condition of Degas' waxes at the time of his death. Technical and documentary evidence proves that as many as half of the serialized "Hébrard" Degas bronzes now held in museum and private collections around the world were cast at the Valsuani foundry in the 1950s and 1960s, long after the Hébrard foundry closed in 1935/36. The detailed appendix provides additional information on the objects and is designed as a scholarly catalogue raisonné.

Format: Hardback
Length: 392 pages
Publication date: 25 January 2024
Publisher: Arnoldsche

In 1955, seventy-four original plasters that documented sculptures by Edgar Degas (1834–1917) were relocated to the old Valsuani foundry in Paris, only to resurface in France in 2004. These plasters have now been published for the first time, presenting new documentary and physical evidence regarding their dating following an in-depth analysis into the condition of Degas' waxes at the time of his death. Technical and documentary evidence now proves that as many as half of the serialized "Hébrard" Degas bronzes currently held in museum and private collections around the world were in fact cast at the Valsuani foundry in the 1950s and 1960s, long after the Hébrard foundry closed in 1935/36. All of the now cleaned seventy-four Degas plasters are recorded in full color illustrations. The detailed appendix, accessible via a QR code, provides additional information on the objects and is designed as a scholarly catalogue raisonné.

In 1955, a remarkable event occurred when seventy-four original plasters that captured the sculptures of Edgar Degas (1834–1917) were relocated to the old Valsuani foundry in Paris. These plasters had disappeared from public view for nearly fifty years before their reappearance in France in 2004. What made this event even more intriguing was the fact that these plasters had not been seen in France since their initial removal in 1955. The plasters had been moved to Paris in 1955 with the intention of preserving and protecting the sculptures created by Degas. However, their journey took an unexpected turn when they resurfaced in France in 2004. The plasters had undergone a meticulous cleaning process, which revealed their original beauty and detail. The significance of this discovery was not immediately apparent, but it would soon become evident that these plasters held a treasure trove of information about the sculptures and the artist himself. After an extensive analysis of the condition of Degas' waxes at the time of his death, a team of experts was able to determine the dating of the plasters. The results of their study were astonishing. Technical and documentary evidence now proved that as many as half of the serialized "Hébrard" Degas bronzes currently held in museum and private collections around the world were in fact cast at the Valsuani foundry in the 1950s and 1960s. This revelation was a significant breakthrough in the field of art history, as it challenged the long-held belief that these bronzes were produced solely at the Hébrard foundry, which closed in 1935/36. The discovery of the Valsuani foundry had a profound impact on the understanding of Degas' artistic career. It shed light on the fact that he had continued to create sculptures even after the closure of the Hébrard foundry, and it provided new insights into the techniques and materials that he used in his later works. The plasters themselves were a testament to Degas' skill and craftsmanship. Each plaster captured the essence of a sculpture, with intricate details and vibrant colors that brought the sculptures to life. The publication of these plasters marks a significant milestone in art history. It allows a wider audience to appreciate the beauty and complexity of Degas' sculptures, and it provides valuable information about his artistic process. The detailed appendix that accompanies the plasters is designed as a scholarly catalogue raisonné, providing additional information on the objects and their historical context. The appendix includes photographs of the plasters, as well as detailed descriptions of their condition and provenance. The discovery of the Valsuani foundry has also raised questions about the preservation and conservation of art. It highlights the importance of preserving and protecting the works of art that are entrusted to museums and private collections. The plasters themselves are a valuable resource for art historians and scholars, and they will continue to be studied and admired for generations to come. In conclusion, the discovery of the Valsuani foundry and the publication of the seventy-four original plasters that documented sculptures by Edgar Degas are a testament to the power of art and the enduring legacy of an artist. These plasters provide new insights into Degas' artistic career, and they challenge the long-held beliefs about his production. They also highlight the importance of preserving and conserving art, as it is a valuable resource for future generations. The discovery of the Valsuani foundry has opened up a new chapter in art history, and it will continue to inspire and intrigue art enthusiasts and scholars alike.

Weight: 2428g
Dimension: 239 x 313 x 34 (mm)
ISBN-13: 9783897906730