A New Degas' "Dancers at the Bar"

About 150 persons attended the recent lecture at the Phillips Collection about the repair to this painting described in detail by Elizabeth ("Lilli") Steele. She is the head of conservation at the Phillips and addressed an audience of mostly young, female, and likely, conservators or students.

In the magnificent new auditorium at the Phillips, Ms. Steele said she had been intrigued by the painting for as long as she has worked at the Phillips: 20 years.

It's believed Degas began painting it around 1884 and "probably worked on it for 20 years", Ms. Steele said.

Degas kept the painting in his possession (likely in his studio: "probably the worst place") until he died in 1917 . His estate sold the painting the next year, and Duncan Phillips purchased it in 1944 for $18,000 ("and it's likely worth ten times that now, " Ms. Steele said.)

From 2002 to 2007 the painting went "on tour" to the Metropolitan Museum in New York and the Art Institute of Chicago, among other locations.

After it returned "home" and inflamed Ms. Steele with love anew, she inspected it closely and with approval by Phillips hierarchy no doubt, began a restoration of the painting which took 10 months.

Before any painting is repaired, an in depth study of the artist, the painting, and its provenance is conducted so that the conservator/archivist gains more information, background and knowledge of the artist's intentions, art, and its various locations, Ms. Steele said.

Microscopic inspection and an examination under ultraviolet light of every possible inch of the painting were made.

Once grime and dirt were removed and a "gentle vacuuming" was performed with small tools, including dental equipment and cotton swabs, brighter "almost different" colors became clearly evident and the painting's three-dimensional effect was restored. The "before and after" pictures of the painting shown on a large screen convinced the audience Ms. Steele was not exaggerating.

Her investigation uncovered a tear in the canvass, a thumbprint and two different inscriptions by two different people. Also, an infrared image of the painting revealed six, rather than four legs, and the change in skirt lengths Degas made. "Degas kept changing his mind about the (dancers') appearance," she said.

For Ms. Steele personally, "it was a lot of fun to work on," she said. "A big thrill!"

She spoke for about 45 minutes and answered questions before some audience members rapidly departed to go view the painting at another gallery at the Phillips. "Dancers at the Bar" is much larger than what I would have thought.

Lectures always add interest and background to the understanding of a painting, making original art all the more pleasing to see up close and personal.

Suggestion to Phillips: Refrain from permitting latecomers to interrupt lectures by directing them to rear seating only.

The Phillips Collection is located at 1600 21st Street, NW near the Dupont Circle Metro stop (north end). Admission on weekdays to see this Degas is free; weekends, $12 which includes admission to special exhibits.