• Source: Scene from the Steeplechase: The Fallen Jockey

Scene from the Steeplechase: The Fallen Jockey is an 1866 oil-on-canvas painting by Edgar Degas. Degas reworked the painting on multiple occasions, once in 1880-81, and again in 1897. The painting, now on display in the National Gallery of Art in Washington, D.C., was exhibited at 1866 Salon in Paris.
Degas used a large canvas to convey the scene. In the center, horses are racing from the right to left side of the canvas. In total there are four horses, with three jockeys. One of the jockeys has fallen off his horse and lies motionless in the foreground. Degas' interest in the subject and his motivation to paint this exact scene have interested art historians to date.
According to Mary Cassatt's mother, Katherine Cassatt, Degas said of the painting: "It is one of those works which are sold after a man's death and artists buy them not caring whether they are finished or not."




Background


It is likely that Degas was introduced to equestrian life around 1861. Degas' visits to Normandy and his friend Paul Valpinçon's estate there inspired him.: 38 It is also possible that Degas was designing experimental canvases without having visited the racetrack.: 48 




= Motivation

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In the years before painting Scene from the Steeplechase: The Fallen Jockey, Degas' father warned him that he would have support himself. Degas, like other members of his family, wasn't ready to provide for himself just yet.: 49 As an artist, he understood that the way to make money was exhibiting at the Salon. He had exhibited Scene of War in the Middle Ages at the Salon in 1865. Although the painting was considered original, there wasn't a great response from critics.: 49 
Degas decided to pivot to a very fashionable subject, the steeplechase. Steeplechases were relatively new in France. The Societe des Steeple-chases was founded just three years before this painting. The steeplechases attracted an upper-class audience due to the fact that riders weren't jockeys, but "gentlemen".: 49 Audiences relished the excitement and risk of the race - where horses and their riders competed by surmounting various obstacles on the course. To ensure that his piece wouldn't be overlooked, Degas chose a large canvas, 180 by 152 centimeters.: 49  This painting may have signaled Degas' transition from history paintings to "modern" paintings.: 254–255 
Degas may have been further influenced by his rivalry with Edouard Manet. Manet's Incident in the Bullring, exhibited at the Salon of 1864. It featured a similar subject and composition - an athlete injured in a dangerous competition, and animals emitting a sense of chaos above.: 561 




The Painting






= Analysis

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Degas placement of figures allows the viewer to focus on the foreground and the fallen jockey. Other typical attendees of the steeplechase, such as spectators and stewards, are not present.: 49  This draws concern to the jockey, and the question as to whether he is alive or dead. There is a sense of drama and danger in the scene. The empty slope below the riders is unusual. The viewer can grasp the size of the horses as they stampede across the canvas, with the jockey lying below.: 173  The shadows of horses are impressive, and mirror their movement across the canvas.

It has been argued that Degas' friend Ludovic-Napoléon Lepic is the mounted rider with the red cap in the painting, while sculptor Raymond de Broutelles is the rider with the white cap in the back left on the canvas.: 50 
The horses in Degas' sketches and in the painting itself convey a desire for freedom. There is a great sense of movement and pace derived from the motion and brush strokes in the front horse.: 53 



The Fallen Jockey

There has been much discourse as to the identity of the fallen jockey. It is possible the fallen jockey is modeled after one of Degas' brothers. Rene Degas might have posed to model the jockey.: 53 However, his brother Achille is known to have posed for jockeys in Degas' works. Degas' drawings show a figure which closely resembles Achille due to his hair, beard, and sideburns.: 53 
Perhaps Degas' depiction of the jockey is more significant. The jockey's fall conveys a sense of weakness. Degas may have been slandering his brother Achille by depicting him. In fact, Achille was seen as the failure of the family.: 56 




Reception and Reworking


It seems that public response from the exhibition was not as loud as Degas would have wanted.: 49  Much of critical attention at the Salon centered around Gustave Courbet's Woman with a Parrot.: 561 One anonymous critic wrote of Degas' painting, "Like the jockey, the painter is not yet entirely familiar with the horse." 31 years later, Degas agreed with the critic, saying "I was totally ignorant of the mechanism that regulates a horse's movements.": 51 
After the Salon of 1866, Degas was displeased with his work. He repainted the scene in the early 1880s and in 1897.: 52  Degas may have been motivated to repaint in the 1880s by his friend Mary Cassatt. Her brother was fond of horses, and she asked Degas to sell the painting to him.: 50  The jockey remained untouched in Degas' reworkings.: 56 
At some point, the art dealer Joseph Durand-Ruel bought the work for 9,000 Francs and had another artist restore the lines of the horses.: 561 As Degas considered the painting "spoiled", he painted Fallen Jockey in 1896, depicting one horse and a fallen jockey in an open field.: 562 




References

Kata Kunci Pencarian:

• Scene from the Steeplechase: The Fallen Jockey
• 1866 in art
• Edgar Degas
• Interior (Degas)
• Marie van Goethem
• Grand National
• List of painters in the National Gallery of Art
• The Line (play)
• 1967 Grand National
• A Day at the Races (film)