The focus of the paper "The Artist of Impressionism, Degas" is on the impressionism movement and one of the famous artists of that period, Edgar Degas. Degas started visiting the Paris Opera dance in his 40s. In dance, Degas established an infinite foundation for his contemporary classicism with its prominence on the body. The Royal Academy’s hypnotizing Degas and the Ballet starts and finishes with the artist himself: wary and dark-eyed at the entrance in a comprehensive picture, half-blind in an enticing video in the last room. The Curators have placed the Courtauld’s Two Dancers in the arena at the beginning of the show. The canvases are fairly well known for its ballerinas trembling en Pointe in the glare of publicity, tutus gauzy, shoes shining, roses blooming in their hair. It is a picture to incite a million girls to dance on a winter’s day; however, it stands up in disparity to approximately all that follows. Degas dancers are exposed scraping their backs, dragging up their bodices, sprawling fatigued on the ground. Old hands spread out, beginners hang around, and lessons repeatedly come to a standstill. There are lessons without instructors, rehearsals where no one moves, exposed rooms where stretching interchanges with inaction, where a single girl sits head in hands whereas the view rakes her far-away companions in anticipation of instructions. Degas shows the study involved and the workings of ballet; the correspondence with his individual fine art is apparent.