Project for Portraits in a Frieze – Three Women by Edgar Degas

Edgar Degas’s “Project for Portraits in a Frieze – Three Women” isn't merely a painting; it’s a frozen moment of observation, a carefully constructed tableau brimming with quiet energy and subtle narrative. Completed in 1879, this oil on canvas offers a glimpse into the artist’s process—his relentless pursuit of capturing not just likenesses but also the essence of human interaction within the bustling backdrop of Parisian life. More than a finished artwork, it stands as an invaluable study, a preparatory sketch that reveals Degas's unique approach to portraying modern women and his fascination with movement and fleeting expressions.

The scene unfolds in a modest interior, likely a dressing room or salon, dominated by a simple chair positioned centrally. Three women are arranged in a horizontal frieze—a deliberate compositional choice that echoes classical sculpture while simultaneously suggesting a contemporary setting. The figures aren’t posed dramatically; instead, they occupy moments of everyday activity: one leans against the chair, her hands clasped thoughtfully behind her back, another sits with legs crossed, appearing relaxed yet observant, and the third stands, holding an umbrella as if anticipating a sudden shower. Each posture subtly conveys a distinct mood—a blend of contemplation, repose, and readiness.

Degas’s signature Impressionistic style is immediately apparent. Bold brushstrokes create a sense of immediacy and movement, capturing not just the appearance of the figures but also the play of light and shadow across their clothing and faces. The colors are vibrant yet muted, reflecting the diffused light filtering through an unseen window. Notice how he uses short, broken strokes to define the textures of the fabrics—the smooth silk of the woman’s dress, the slightly rumpled texture of her jacket, and the delicate folds of the umbrella. This technique is not about photographic realism; it's about conveying a feeling, an atmosphere – the quiet intimacy of a private moment.

Beyond its aesthetic qualities, “Project for Portraits in a Frieze” holds significant historical context. Degas was deeply interested in documenting modern life, particularly the lives of women and the burgeoning world of ballet. He frequently depicted dancers and performers, capturing their grace, strength, and vulnerability. This work reflects his broader exploration of the female form—a subject he approached with both admiration and a keen eye for detail. The inclusion of everyday objects – the chair, the handbags – adds to the painting’s realism and grounds it in the specific context of Parisian society at the time.

The presence of three oranges scattered throughout the scene introduces an intriguing element of symbolism. While their exact meaning remains open to interpretation, they could represent abundance, fertility, or simply a touch of domesticity within this otherwise sophisticated setting. Degas’s penchant for including seemingly random details—a small gesture, a particular color—is characteristic of his artistic process and invites viewers to engage with the painting on multiple levels.

Furthermore, it's worth noting that “Project for Portraits in a Frieze” is part of a larger series of studies undertaken by Degas. The National Gallery houses a complete version of this composition, offering a fascinating comparison between the preparatory sketch and the final artwork. Examining these variations reveals Degas’s iterative approach to painting—his willingness to experiment with different compositions, colors, and techniques until he achieved his desired effect. The work's influence extends beyond its immediate aesthetic appeal; it serves as a testament to Degas's innovative spirit and his enduring legacy as one of the most important artists of the 19th century.