ドガの風景画にみられる新たな視覚

サン=ヴァレリ=シュル=ソンムの風景画を中心に

抄録

Degas, famous for his dancer paintings, also intensively worked on landscapes in 1869, 1890-93 and c.1895-98. Previous studies emphasized elements of next-generation art such as Fauvism or Cubism appear in the arbitrary colors and distorted space in the landscapes depicted in Saint-Valéry-sur-Somme during the period of c.1895-98. This paper, first, compares the landscapes of c.1895-98 with of 1892 depicting scenery from moving train compartment. In the landscapes of 1892, it is clear that description of the foreground is vaguer than that of the background for speed of a train, and we can argue that this is also the case with the landscapes of c.1895-98. Second, through comparison of four Saint-Valéry-sur-Somme landscapes depicting the identical place with actual view, it will be shown that Degas drew them changing his standing locations on the same road. Seeing these in certain order, we have the impression that we walk further and further on the road as the hindmost house in each landscape is getting bigger. Thereby, it is concluded that Degas captured not only moving objects like dancers and racehorses but still objects which change by his move. Representation of such to-andfro motion is unique among his other landscapes.