Edgar Degas was born Hilaire-Germain-Edgar De Gas on July 19, 1834, in Paris, France. He was the eldest of five children born to Augustin De Gas, a wealthy banker, and Célestine Musson, a Creole woman from New Orleans. Growing up in a cultured, upper-class household, young Edgar received a classical education at the prestigious Lycée Louis-le-Grand. From an early age, he displayed a precocious talent for drawing, filling countless notebooks with sketches of family members, friends, and scenes from everyday life.


In 1853, at the age of 18, Degas graduated from the lycée and briefly attended the University of Paris, where he studied law to appease his father. However, his true passion lay in art, and in 1855, he gained admission to the esteemed École des Beaux-Arts. There, he received rigorous training in the academic tradition, copying masterpieces at the Louvre and honing his skills in drawing and painting.


After completing his studies, Degas embarked on a three-year sojourn to Italy, where he immersed himself in the art of the Renaissance masters. He spent countless hours in museums and churches, copying the works of Michelangelo, Raphael, and Titian, absorbing their mastery of form, composition, and color. This classical foundation would remain a touchstone throughout his career, even as he pushed the boundaries of artistic convention.


Upon returning to Paris in 1859, Degas set up a studio and began to establish himself as a professional artist. His early works, such as "The Bellelli Family" (1858-67) and "Portrait of Edmund Bellelli" (1862), showcase his virtuosic command of line and form, as well as his keen eye for psychological nuance.


In the 1860s, Degas formed close friendships with a group of avant-garde artists, including Édouard Manet, Pierre-Auguste Renoir, and Claude Monet, who would later become known as the Impressionists. Although he shared their desire to break free from the strictures of academic painting, Degas never fully embraced their emphasis on plein-air painting and the capturing of fleeting effects of light and atmosphere. Instead, he remained committed to working in the studio, meticulously constructing his compositions from a synthesis of observation, memory, and imagination.


In 1873, Degas made his first foray into the world of ballet, a subject that would become a lifelong obsession. He began frequenting the Paris Opéra, where he sketched the dancers from every angle, both on stage and behind the scenes. Paintings like "The Dance Class" (1873-76) and "Rehearsal of the Ballet on Stage" (1874) offer an intimate glimpse into the rigorous training and discipline required of these young performers.


Degas' ballet scenes marked a radical departure from the idealized, sentimental depictions of dancers that were then in vogue. Instead of pretty, doll-like figures, he portrayed his subjects as real women, with aching muscles, sweat-soaked leotards, and unglamorous, workaday expressions. This unflinching realism, combined with his daring compositional innovations - asymmetrical framing, abrupt cropping, and vertiginous perspectives - positioned Degas at the forefront of the nascent Impressionist movement.


In 1874, Degas joined forces with Monet, Renoir, and others to mount the first Impressionist exhibition, a watershed moment in the history of modern art. Although the show was widely ridiculed by critics and the public alike, it marked the beginning of a new era in which artists would increasingly challenge the prevailing norms of subject matter, style, and technique.


Over the next decade, Degas continued to participate in the Impressionist exhibitions, showcasing his ever-evolving vision of modern life. In paintings like "The Absinthe Drinker" (1875-76) and "In a Café (The Absinthe)" (1873), he offered a raw, unvarnished look at the seedy underbelly of Parisian café culture. His portraits of milliners, laundresses, and ironing women, such as "The Millinery Shop" (1879/86) and "Woman Ironing" (1873), elevate these anonymous working-class women to the status of artistic subjects, capturing their quiet dignity and resilience in the face of hardship.


In the 1880s and 90s, Degas began to experiment more widely with pastel, a medium that allowed him to work quickly and spontaneously, capturing the ephemeral effects of light and color. In a series of radiant landscapes, such as "Landscape with Path Leading to a Copse of Trees" (1890-92), he used pastel to evoke the shimmering, evanescent beauty of the natural world.


Pastel also proved ideally suited to Degas' longstanding interest in the female nude. In intimate, closely-cropped compositions like "After the Bath, Woman Drying Herself" (c.1890-95) and "Woman Combing Her Hair" (c.1885), he depicted women in their most private moments, engaged in the rituals of bathing and grooming. These images, with their frank, unapologetic eroticism, challenged traditional notions of female propriety and decorum.


As his eyesight began to deteriorate in the 1890s, Degas turned increasingly to sculpture, modeling small figures in wax and clay. His most famous sculpture, "Little Dancer Aged Fourteen" (1878-81), offers a poignant portrait of a young ballerina, her body still gawky and unformed, her face a mask of weary determination. Cast in bronze after Degas' death, this groundbreaking work paved the way for future generations of sculptors, from Auguste Rodin to Alberto Giacometti.


In his final years, Degas withdrew from society, living as a recluse in his Paris apartment. Despite his failing vision, he continued to work tirelessly, producing a remarkable series of late landscapes and self-portraits that push his art to the brink of abstraction. In paintings like "Wheatfield and Green Hill" (c.1890-92) and "Self-Portrait" (1900), he abandons the precise, controlled brushwork of his earlier work in favor of a looser, more expressive style, one that seems to anticipate the bold experimentation of the modernist masters who would follow in his wake.


Degas died on September 27, 1917, at the age of 83. He never married and left no direct descendants, but his artistic legacy is vast and enduring. Through his relentless quest to capture the truth of the human condition in all its complexity and ambiguity, he helped to redefine the very nature and purpose of art in the modern age. Today, he is celebrated as one of the great pioneers of modernism, a visionary whose influence can be seen in the work of countless artists, from the Post-Impressionists and Fauvists to the Abstract Expressionists and beyond.


In the century since his death, Degas' reputation has only continued to grow, as new generations of scholars and art lovers have discovered the depth and richness of his oeuvre. His paintings, pastels, and sculptures can be found in major museums around the world, from the Musée d'Orsay in Paris to the Metropolitan Museum of Art in New York to the National Gallery of Art in Washington, D.C.