Edgar Degas – Three Jockeys Metropolitan Museum: part 2

The composition presents a dynamic scene of equestrian activity, likely a horse race or training exercise. Three figures dominate the foreground: two mounted riders and a third figure seemingly observing from a slightly elevated position. The immediate impression is one of movement and energy, conveyed through the tilted perspectives and rapid brushstrokes.
Here we see the artist employing a palette dominated by earthy tones – ochres, browns, greens – with accents of red and blue in the jockeys’ attire. This restricted color range contributes to a sense of immediacy and perhaps even a certain austerity. The application of pastel is vigorous; marks are visible, suggesting an impulsive approach rather than meticulous blending. The texture created by this technique adds to the feeling of fleeting observation.
The spatial arrangement is unconventional. Theres no clear horizon line, which flattens the perspective and emphasizes the figures themselves. The background appears as a blurred expanse of vegetation and sky, rendered with loose strokes that lack detail. This deliberate ambiguity prevents the eye from settling on a distant point, keeping the focus firmly on the action unfolding in the foreground.
The jockeys are not depicted in heroic poses; instead, they appear caught mid-stride, their bodies leaning into the exertion of riding. The horses exhibit similar signs of strain and effort, with visible musculature and dynamic postures. This emphasis on physicality suggests an interest in capturing the raw energy and physical demands of the sport.
Beyond a straightforward depiction of horsemanship, subtexts emerge concerning youth and vulnerability. The riders appear to be young boys, their small stature contrasting with the power of the horses they control. This juxtaposition raises questions about childhood labor, training, and the pressures placed upon these individuals within this competitive environment.
The presence of the observer figure adds another layer of complexity. Situated slightly apart from the main action, he seems detached yet engaged, perhaps representing a patron or someone overseeing the proceedings. His position suggests a power dynamic at play – a silent witness to the exertion and potential risk undertaken by the young riders. The painting, therefore, transcends a simple portrayal of a sporting event; it offers a glimpse into a world of training, competition, and the complex relationships between youth, labor, and observation.