Abstract

In the past decade, Edgar Degas’s milliner series (1876–1910) received new attention thanks to a youtube video by the Art Institute of Chicago and a joint exhibition in Saint Louis and San Francisco. A consensus has formed to interpret the works, which show milliners and customers contemplating hats, as artistic self-reflection, with the milliners standing for artists and the hats for artworks. This article picks up where the research left off, adding to the interpretation of the works as artistic self-reflection insights on the history of palette pedagogy and literary sources so far not connected to Degas. It also adds a “why,” locating the analogy of hats and art in Degas’s oeuvre, comparing it to that of his contemporaries, and contributing a pragmatic answer to the 19th century discussion: “What is art for?”

摘要

在过去的十年中，埃德加·德加的女帽系列（1876-1910）因芝加哥艺术学院的 YouTube 视频以及在圣路易斯和旧金山的联合展览而受到新的关注。人们已经形成共识，将这些展示女帽商和顾客对帽子的思考的作品解读为艺术的自我反思，女帽商代表艺术家，帽子代表艺术品。本文从研究的起点开始，将这些作品解释为对调色板教育学历史和迄今为止与德加无关的文学来源的艺术自我反思见解。它还添加了一个“为什么”，在德加的作品中找到了帽子和艺术的类比，将其与他同时代的作品进行比较，并对 19 世纪的讨论做出了务实的回答：“艺术是用来做什么的？”