In the beginning of the 20th century, France appeared to be a great and a powerful nation in Europe. She had two main preoccupations concerning her foreign policy: on one hand France wanted to reinforce and expand her colonial Empire; on the other hand she had the will to maintain and strengthen security in Europe. That is how France created a new diplomatic “system” which tried to reach those two goals. Théophile Delcassé embodies this new French system. Théophile Delcassé became the Foreign Minister at the age of 46 in June 1898 and he left this post in 1905. At the beginning, Delcassé was considered as a “pro colonial” and nationalist politician, he wanted - for example – France to occupy extra-European territories. However, the rivalry between France and Great Britain on the colonial level and the fear of Germany did not allow Delcassé to apply a strict expansionism policy. His foreign policy had to consist of building an alliance network in order to secure France. Delcassé wanted to build a synthesis out of overseas expansionism and security for France in Europe: This foreign policy is called Delcassé's “Grande politique”.
[...] Therefore, in spite of the same name and the obvious influence of Degas, Hopper's Reclining Nude is unique. IV. Conclusion We saw in this paper that there is an obvious influence of Degas on Hopper. Sure, there are huge differences between those two artists; they had different techniques, color panels and views. But aren't they partly due to the fact that they belonged to separate centuries and movements? Regarding their goals, I would like to mention that, maybe, they were closer than it seems. [...]
[...] Beyond this, in all Hopper's work, there is a fundamental reconciliation of the vastness, the remoteness, the mystery, and the poetry in the man-made chaos of the American environment. Why studying them together and how? Hopper's intellectual but individualistic approach enabled him to absorb aspects of artists whom he admired, including Degas. The solitary demeanour of many of his characters has many precedents in the history of art. The nude is especially highly charged in Hopper's oeuvre, which the curator Sheena Wagstaff compares to those of Degas. [...]
[...] Here, there is nothing but lines, more precisely triangles (look at the Annex) But still, an undeniable influence of Degas in Hopper's work Sheena Wagstaff wrote, referring to Hopper's early work summer interior: vignette of erotic tension, it is a crowded framework of interlocked planar forms, abrupt diagonals and tilted floor where a woman is slumped on a tangle of sheets, her foot dipping into a rectangular pool of reflected light The painting acknowledges the particular influence of Degas through which Hopper determined some of the basic elements of his formal vocabulary. [...]
[...] Even for The tub, it lightens the back of the lady but we can see that it is to underline the curves of it, its lines, its muscles In Hopper's work, the light falls on the front of the person and we can trace the source of it: the window. The View: Both focus on the body but in different ways. Degas uses a close up view, with a warm and blurred background. On the opposite, Hopper has a distant view; but he compensates it with the spaces' emptiness in which women are represented (except for Reclining Nude). [...]
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