Identifies and discusses several sequences of what the author calls Degas's classroom paintings: ballet classes (1873-1880); ballet classes (1871-1872) and a vocal rehearsal (1868); and ballet rehearsals on stage (1873-1874). Traces compositional principles involving the disposition of figures in these sequences of related works, viewing each picture as a successive phase in a process where the individual finished painting held no privileged role.
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