Two groups of people face off in front of a hilly landscape in this loosely painted, vertical scene. On our left, a pale young man in a white tunic looks with eyes wide and lips parted at a group of three people on our right. The young man's right hand, on our left, is raised to stroke the head of a reddish-brown horse at his right shoulder. He stands with feet planted wide, knees bent, and he curls his left hand into a fist. Behind him, a man holds up a fluttering, light blue cape. A mottled red wall forms a backdrop to this scene on our left. The tight group gathered under a tree on our right stares back at the young man. The trio is made up of a balding, older man, a light-skinned boy also wearing a white tunic, and, closest to us, a brown-skinned woman wearing a marigold-orange shirt and a maroon-red skirt. Behind this group, a pair of pale raised arms suggests a fourth person, but the head is missing or has been painted over. The ground under the people is saffron orange. In the center of the picture, beyond the people, a group of horses stands near a green bank by a river, its surface reflecting white. The far bank is lined with white buildings. Tan and olive-green slopes rise from the opposite riverbank under a pale blue sky with cream-white clouds sweeping along the top edge of the composition. The artist signed his name in red paint in the lower right corner: “Degas.”
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Two groups of people face off in front of a hilly landscape in this loosely painted, vertical scene. On our left, a pale young man in a white tunic looks with eyes wide and lips parted at a group of three people on our right. The young man's right hand, on our left, is raised to stroke the head of a reddish-brown horse at his right shoulder. He stands with feet planted wide, knees bent, and he curls his left hand into a fist. Behind him, a man holds up a fluttering, light blue cape. A mottled red wall forms a backdrop to this scene on our left. The tight group gathered under a tree on our right stares back at the young man. The trio is made up of a balding, older man, a light-skinned boy also wearing a white tunic, and, closest to us, a brown-skinned woman wearing a marigold-orange shirt and a maroon-red skirt. Behind this group, a pair of pale raised arms suggests a fourth person, but the head is missing or has been painted over. The ground under the people is saffron orange. In the center of the picture, beyond the people, a group of horses stands near a green bank by a river, its surface reflecting white. The far bank is lined with white buildings. Tan and olive-green slopes rise from the opposite riverbank under a pale blue sky with cream-white clouds sweeping along the top edge of the composition. The artist signed his name in red paint in the lower right corner: “Degas.”

National Gallery of Art · Painting

Alexander and Bucephalus

Edgar Degas

Date
1861/1862
Medium
oil on canvas
Dimensions
overall: 115 x 89 cm (45 1/4 x 35 1/16 in.) framed: 139.7 × 107.95 × 12.7 cm (55 × 42 1/2 × 5 in.)
Classification
Painting
Accession number
1997.57.1
Credit line
Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann
Time span
1851 to 1875
Department
CF

Subjects and terms

  • painted surface
  • French
  • Impressionist
  • Bucephalus
  • French Paintings of the Nineteenth Century. Part II: Impressionism and Post-Impressionism
  • classical
  • secular
  • Alexander the Great
Provenance

(Degas atelier sale number 1, 6-8 May 1918, Galerie Georges Petit, Paris, no. 5, as _Achille et le Bucéphale_). Dr. Hans Graber [1886-1956], Morcote, by 1951.[1] (Walter Hugelshofer, Zurich); (M. Knoedler and Co., New York) on joint account with (Pinakos, Inc., [Rudolf Heinemann], New York) from October 1956;[2] Lore Heinemann [Mrs. Rudolf J. Heinemann], New York; bequest 1997 to NGA. [1] Lent to a 1951 exhibition in Bern from a private collection in Morcote; in Douglas Cooper, _Pastels by Edgar Degas_, New York, 1953, that collection is identified as Hans Graber. Graber was an art historian and collector who wrote on nineteenth century artists including Degas. The painting might have been exhibited at the Kunsthaus, Zurich, in 1929, according to Waldemar George, "L'Art en Suisse," _Formes_, 1929, p. 263. [2] Knoedler stock book no. 10, p. 187, no. A6501, Getty Research Institute, Los Angeles (copy in NGA curatorial files). Knoedler's half was likely sold back to Pinakos, as the painting is next in the collection of Heinemann's widow Lore, who donated it to the National Gallery of Art.

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lower right: Degas

NGA object ID 101776. Collection metadata is reproduced under CC0. This work is included because its NGA published-image record is marked open access; visitors should recheck the source record before substantial reuse.