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Prix Power
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The career of Edgar Degas was a long one - about 60 years out of his total 83. And his style, unlike that of most famous artists who worked into their old age, never ceased developing, always seeking out new means of expression and technique.The art dealer Ambroise Vollard one day asked him why he had never married, to which he replied that he would live in constant fear that, whenever he completed a new painting, he would hear my wife say 'That's so pretty what you've done there!'. In fact, despite today's almost universal appreciation and popularity of his images, it was never a conventional sense of beauty that attracted his talents.

Hilaire Germain Edgar de Gas (it was only later that he started to sign his works 'Degas') was born in Paris, the eldest of three boys and two girls born to a prosperous banker from a Neapolitan family and his Creole wife from New Orleans. He was actually named after his grandfathers - Hilaire Degas, a banker from Naples, and Germain Musson, a New Orleans merchant. However his mother was to die when he was only 13 years old.

He was educated at the lycee Louis-le-Grand, a famous school for the elite, where he received a classical education and also met his long-time friends Henri Rouart, Paul Valpincon and Ludovic Halevy. Having received his baccalaureat in 1853, he enrolled at the Faculty of Law, although he preferred to spend his time in the print room of the Louvre where he had already made some copies from engravings, and also visiting the painting studios of Felix Barrias and Louis Lamothe. In 1855 he entered the Ecole des Beaux-Arts and began to study officially with Lamothe, a pupil of Ingres.

Not needing to study and compete for the Prix de Rome, in 1856 he set out for Italy, first visiting his family in Naples. In October 1857 he visited Rome where he met Gustave Moreau, already an influential figure eight years his elder. They became close friends and visited Florence together between June and August 1858.

From 1865 to1870 Degas exhibited each year at the Paris Salon. He also became friendly with Berthe Morisot and Edouard Manet and, in the summer of 1869, joined Manet in Boulogne and Saint-Valery-en-Caux where he painted some landscapes. Of all the artists of the time, it is doubtlessly Manet with whom he had the greatest affinity. They were both older than most of the Impressionist circle and both came from prosperous families so they could also meet socially within their family circles.

The tragic events of the Franco-Prussian war and the Paris Commune of the years 1870-71, together with a lengthy stay in Louisiana visiting his family from October 1872 to March 1873, marked both an interruption and a turning point in his career. At the outbreak of the war he joined the national guard together with his friend Manet and many other artists, however the extreme cold during the siege of Paris affected his health badly and at the start of the Paris Commune he went to rest in the Orne with his friends the Valpincon family.

It was during the 1870's that Degas acquired his reputation as a painter of dancers. The reasons for his interest in dance were numerous and diverse but certainly stem from his life-long enthusiasm for music and the opera. The interior of the opera house also had many visual attractions - the possibility of unusual views onto the stage from balconies or the orchestral pit, contrasts between light and darkness, illusion and reality, beauty and banality.

After the theme of dance it was the racecourse that drew most of his attention. Racecourses were a new phenomenon in France, being introduced there from England in the 19th century. The Longchamp stadium opened in 1857 and it was this course which inspired Degas, Manet and, later, Toulouse-Lautrec. The exclusive Jockey Club was inaugurated in 1833 and it naturally attracted the same upper classes who attended the Paris Opera.

His first personal exhibition, which was held at the Durand-Ruel gallery in 1892, consisted of an extraordinary series of semi-abstract monotypes with enhanced colours representing mysterious landscapes. Besides such landscapes his style wasn't to change dramatically from then on, although his subjects tended to grow in dimension - whereas previously, for example, he would have depicted a whole dance troupe, he now concentrated on perhaps just two or three figures in the foreground. This was undoubtedly to some extend due to his failing eyesight.

Degas himself gave another explanation for the mysterious power of his later works: "It's one thing to copy what one sees, but it's much better to draw what can only be seen in one's memory. It's a transformation during which the imagination collaborates with the memory ... there your recollections and fantasies are freed from the tyranny exerted by nature."

Degas continued to struggle against his blindness and worked up to about 1912 when he was forced to leave his apartment where he had lived for the past quarter century and move to a more convenient address in the Boulevard de Clichy. But it proved to be an ordeal from which he never fully recovered and, despite the huge international success and high prices commanded by his works from 1900 onwards, he became sad and indifferent to the glory. He died on 27th September 1917 during the wartime, making his death go almost unnoticed by the world - although perhaps a fitting end for the man who had once said "I would like to be famous but unknown"! He was buried in the cemetery of Montmartre.

Learn more about Edgar Degas and find other biographical writing by Bianca Tavares at Vintage Art.

Bmw Sauber Preparing for Monaco Grand Prix

As the Monaco Grand Prix approaches, Formula One teams are already making their preparations for the most prestigious Formula One race. The fifth race of the 2007 Formula One season is scheduled to be held at the Circuit de Monaco on the 27th of May. One of the teams making a bid for the top spot is the BMW Sauber although they are currently trailing teams McLaren Mercedes and Ferrari.

The team has so far had four fourth place finishes at the four races this season with Nick Heidfeld recording the team’s first three fourth place finishes at the Australian, Malaysian, and Bahrain Grand Prix. At the Spanish Grand Prix, it was his teammate, Robert Kubica, who secured the fourth place finish behind Felipe Massa of Ferrari, and Lewis Hamilton and Fernando Alonso who are both from McLaren.

For the Monaco Grand Prix which has the narrowest track in any race this season, it is said that a car’s power is not enough to gain a win. Skills and the set up of the car play a major role in the outcome of the race. That is why BMW Sauber has put in efforts to prepare the car for the demand of the track in Monaco. Willy Rampf, the technical director of the team, says that traction plays a major role in the race due to the nature of the course. He explained that: “Monaco is a circuit you simply can't compare with any other. It's always got some surprises up its sleeve. The latest team rankings can easily be shaken up here. Maximum downforce is important. Greater downward pressure takes precedence over efficiency, and coming out of the many slow turns demands good traction above all.”

Knowing the demand that the track will ask of the Formula One cars on raceday, BMW Sauber has already made significant changes to their cars to give them better traction. “It is also crucial that the car responds with absolute precision and predictability, because the tiniest of errors will mean hitting the crash barriers and the end of the race. The car will go to Monaco with aerodynamic modifications, and we are using a front axle specially developed just for this race to ensure there's enough steering angle in the tight turns like the former Loews Corner,” explains Rampf.

Aside from preparing the cars for maximum traction, the team also spent time to fix the gearbox problem that prevented Heidfeld from finishing the Spanish Grand Prix. “We managed to get to the bottom of the gearbox problem in Nick's F1.07 in Barcelona before the race day was over, and corrective measures were already being applied during the test in Paul Ricard,” says BMW Motorsport Director Mario Theissen. “We have also worked through Nick's botched-up pit stop and learnt the lessons for any future incidents.” Meanwhile, team owner Peter Sauber has this to say about the pit stop incident: “Obviously it is a shame that Nick was unlucky there. If you take your time to analyze the pit stop, however, one has to admit that these things can happen. Unfortunately, we can't change it anymore.”

Sauber though is elated by the performance being shown by their young driver Robert Kubica. The driver is the first Pole to drive a Formula One car and at the Spanish Grand Prix, he certainly shows why he deserves that distinction. Sauber has this to say about the team’s performance so far and their four fourth place finish: “It would be great if it stayed this way. At the beginning of the season, we didn't expect to be able to finish four races in fourth place. McLaren and Ferrari, the two teams ahead of us, have four drivers between them, so you always have to leave one of them behind.”

For his part, Kubica is focused on the task at hand and shares his thoughts about the most prestigious race of the season. “From a driver's point of view the Monaco Grand Prix is something really special in the Formula One calendar,” the young driver says. “There's very little room for error and you're driving at the limit virtually the whole time. You can't afford to slip up on these narrow streets. I've raced in Monte Carlo in the World Series by Renault, but this year it will be an experience for me to appear there for the first time in a Formula One race. In 2006 I drove on Friday at the GP, but not very much because of technical problems.”

He also echoed Rampf’s thoughts about the importance of traction at the next race. “For the first time since the start of the season in Melbourne, high downforce is required again, and that's another reason why I'm looking forward to Monaco. It's going to be a real challenge and I can't wait to see how well we do. In the past I've always managed all right on city circuits.”

Meanwhile, Nick Heidfeld, whose car suffered from a gearbox problem, is looking forward to continue what he had started for the season at the Monaco Grand Prix. “The ratio of narrowness to speed simply defies description, and it's something I really enjoy,” he said. “Two years ago I came second in Monaco. Last year we had a fault during qualifying, which meant I started from 16th, but still managed to pick up two championship points by finishing seventh. It goes to show that the key thing in Monaco is not to make any mistakes.” His car’s gearbox may have failed at the Spanish Grand Prix but other components such as the BMW coil springs and other suspension parts did not falter. These components are important to maintain good traction.

About the Author

Anthony Fontanelle is a 35-year-old automotive.buff who grew up in the Windy City. He does freelance work for an automotive magazine when he is not busy customizing cars in his shop.

Where do you check the power steering fluid on a 97 Pontiac Grand Prix?

This is kind of embarassing, but, I cant find the power steering fluid location on my wife's car and I think it may be low. Where do I look for it?

power steering pump under hood usually left hand side. do not have car running. v-belt on it. small cover pulls out or turncounter clock wise. again do not have car running.

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