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"His interest in portraiture led him to study carefully the ways in which a person's social stature or form of employment may be revealed by their physiognomy, posture, dress, and other attributes. In his 1879 Portraits, At the Stock Exchange, Degas portrayed a group of Jewish businessmen with a hint of anti-Semitism. In 1881 Degas exhibited two pastels, Criminal Physiognomies, that depicted juvenile gang members recently convicted of murder in the ""Abadie Affair"". Degas had attended their trial with sketchbook in hand, and his numerous drawings of the defendants reveal his interest in the atavistic features thought by some nineteenth century scientists to be evidence of innate criminality.[33] In his paintings of dancers and laundresses, Degas reveals their occupations not only by their dress and activities but also by their body type. His ballerinas exhibit an athletic physicality, while his laundresses are heavy and solid.[34]
At the Races, 1877–1880, oil on canvas, by Edgar Degas, Musée d'Orsay, Paris.
By the later 1870s Degas had mastered not only the traditional medium of oil on canvas, but pastel as well. The dry medium, which Degas applied in complex layers and textures, enabled him more easily to reconcile his facility for line with a growing interest in expressive color.
In the mid-1870s Degas also returned to the medium of etching, which Degas had neglected for ten years, and began experimenting with less traditional printmaking media—lithographs and experimental monotypes. Degas was especially fascinated by the effects produced by monotype, and frequently reworked the printed images with pastel.[35]
La Toilette (Woman Combing Her Hair), c. 1884–1886, pastel on paper, by Edgar Degas, Pushkin Museum, Moscow
These changes in media engendered the paintings that Degas would produce in later life. Degas began to draw and paint women drying themselves with towels, combing their hair, and bathing (see: After the Bath). The strokes that model the form are scribbled more freely than before; backgrounds are simplified.
The meticulous naturalism of his youth gave way to an increasing abstraction of form. Except for his characteristically brilliant draftsmanship and obsession with the figure, the pictures created in this late period of his life bear little superficial resemblance to his early paintings. Ironically, it is these paintings, created late in his life, and after the heyday of the Impressionist movement, that most obviously use the coloristic techniques of Impressionism."
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