Name	Edgar Degas
Caption	Self-portrait (Degas au porte-fusain), 1855
Birthname	Hilaire-Germain-Edgar De Gas
Birthdate	July 19, 1834
Birth place	Paris, France
Deathdate	September 27, 1917
Deathplace	Paris, France
Nationality	French
Field	Painting, Sculpture, Drawing
Movement	Impressionism
Works	The Bellelli Family (1858-1867)Woman with Chrysanthemums (1865)Chanteuse de Café (c.1878)At the Milliner's (1882)
Signature	Degas autograph.png
Influenced	Mary Cassatt, Jean-Louis Forain, Walter Sickert, Henri de Toulouse-Lautrec

Edgar Degas^[p] (19 July 1834 – 27 September 1917), born Hilaire-Germain-Edgar De Gas (), was a French artist famous for his work in painting, sculpture, printmaking and drawing. He is regarded as one of the founders of Impressionism although he rejected the term, and preferred to be called a realist. A superb draughtsman, he is especially identified with the subject of the dance, and over half his works depict dancers. These display his mastery in the depiction of movement, as do his racecourse subjects and female nudes. His portraits are notable for their psychological complexity and depiction of human isolation.

Early in his career, his ambition was to be a history painter, a calling for which he was well prepared by his rigorous academic training and close study of classic art. In his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life.

Early life

Degas was born in Paris, France, the eldest of five children of Célestine Musson De Gas and Augustin De Gas, a banker. The family was moderately wealthy. His mother died when Degas was thirteen, after which his father and grandfather were the main influences on his early life. At age eleven, Degas (in adulthood he abandoned the more pretentious spelling of the family name) began his schooling with enrollment in the Lycée Louis-le-Grand, graduating in 1853 with a baccalauréat in literature.

Degas began to paint early in his life. By eighteen, he had turned a room in his home into an artist's studio, and in 1853 he registered as a copyist in the Louvre. His father, however, expected him to go to law school. Degas duly registered at the Faculty of Law of the University of Paris in November 1853, but made little effort at his studies there. In 1855, Degas met Jean Auguste Dominique Ingres, whom he revered, and whose advice he never forgot: "Draw lines, young man, and still more lines, both from life and from memory, and you will become a good artist." In April of that same year, Degas received admission to the École des Beaux-Arts, where he studied drawing with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the next three years. In 1858, while staying with his aunt's family in Naples, he made the first studies for his early masterpiece, The Bellelli Family. He also drew and painted numerous copies after Michelangelo, Raphael, Titian, and other artists of the Renaissance but, contrary to conventional practice, he usually selected from an altarpiece a detail that had caught his attention—a secondary figure, or a head which he treated as a portrait.

Artistic career

Upon his return to France in 1859, Degas moved into a Paris studio large enough to permit him to begin painting The Bellelli Family—an imposing canvas he intended for exhibition in the Salon, although it remained unfinished until 1867. He also began work on several history paintings: Alexander and Bucephalus and The Daughter of Jephthah in 1859–60; Sémiramis Building Babylon in 1860; and Young Spartans around 1860. In 1861, Degas visited his childhood friend Paul Valpinçon in Normandy, and made the earliest of his many studies of horses. He exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. Although he exhibited annually in the Salon during the next five years, he submitted no more history paintings, and his Steeplechase—The Fallen Jockey (Salon of 1866) signaled his growing commitment to contemporary subject matter. The change in his art was influenced primarily by the example of Édouard Manet, whom Degas had met in 1864 (while both were copying the same Velázquez portrait in the Louvre, according to a story that may be apocryphal).

At the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, and for the rest of his life his eye problems were a constant worry to him. , 1873]] After the war, in 1872, Degas began an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying in a house on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degas's New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, and was his only work purchased by a museum (that of Pau) during his lifetime.

Degas returned to Paris in 1873. The following year his father died, and in the subsequent settling of the estate it was discovered that Degas's brother René had amassed enormous business debts. To preserve the family name, Degas was forced to sell his house and a collection of art he had inherited. Dependent for the first time in his life on sales of his artwork for income, he produced much of his greatest work during the decade beginning in 1874. By now thoroughly disenchanted with the Salon, Degas joined forces with a group of young artists who were intent upon organizing an independent exhibiting society. The first of their exhibitions, which were quickly dubbed Impressionist Exhibitions, was in 1874. The Impressionists subsequently held seven additional shows, the last in 1886. Degas took a leading role in organizing the exhibitions, and showed his work in all but one of them, despite his persistent conflicts with others in the group. He had little in common with Monet and the other landscape painters, whom he mocked for painting outdoors. Conservative in his social attitudes, he abhorred the scandal created by the exhibitions, as well as the publicity and advertising that his colleagues sought.

As his financial situation improved through sales of his own work, he was able to indulge his passion for collecting works by artists he admired: old masters such as El Greco and such contemporaries as Manet, Pissarro, Cézanne, Gauguin, and Van Gogh. Three artists he idolized, Ingres, Delacroix, and Daumier, were especially well represented in his collection.

In the late 1880s, Degas also developed a passion for photography. He photographed many of his friends, often by lamplight, as in his double portrait of Renoir and Mallarmê. Other photographs, depicting dancers and nudes, were used for reference in some of Degas's drawings and paintings.

As the years passed, Degas became isolated, due in part to his belief that a painter could have no personal life. The Dreyfus Affair controversy brought his anti-Semitic leanings to the fore and he broke with all his Jewish friends. His argumentative nature was deplored by Renoir, who said of him: "What a creature he was, that Degas! All his friends had to leave him; I was one of the last to go, but even I couldn't stay till the end."

Although he is known to have been working in pastel as late as the end of 1907, and is believed to have continued making sculpture as late as 1910, he apparently ceased working in 1912, when the impending demolition of his longtime residence on the rue Victor Massé forced a wrenching move to quarters on the boulevard de Clichy. He never married and spent the last years of his life, nearly blind, restlessly wandering the streets of Paris before dying in 1917.

Artistic style

Degas is often identified as an Impressionist, an understandable but insufficient description. Impressionism originated in the 1860s and 1870s and grew, in part, from the realism of such painters as Courbet and Corot. The Impressionists painted the realities of the world around them using bright, "dazzling" colors, concentrating primarily on the effects of light, and hoping to infuse their scenes with immediacy.

Technically, Degas differs from the Impressionists in that he "never adopted the Impressionist color fleck", and he continually belittled their practice of painting en plein air. "He was often as anti-impressionist as the critics who reviewed the shows", according to art historian Carol Armstrong; as Degas himself explained, "no art was ever less spontaneous than mine. What I do is the result of reflection and of the study of the great masters; of inspiration, spontaneity, temperament, I know nothing." Nonetheless, he is described more accurately as an Impressionist than as a member of any other movement. His scenes of Parisian life, his off-center compositions, his experiments with color and form, and his friendship with several key Impressionist artists—most notably Mary Cassatt and Édouard Manet—all relate him intimately to the Impressionist movement.

Degas's style reflects his deep respect for the old masters (he was an enthusiastic copyist well into middle age) and his great admiration for Jean Auguste Dominique Ingres and Eugène Delacroix. He was also a collector of Japanese prints, whose compositional principles influenced his work, as did the vigorous realism of popular illustrators such as Daumier and Gavarni. Although famous for horses and dancers, Degas began with conventional historical paintings such as The Young Spartans, in which his gradual progress toward a less idealized treatment of the figure is already apparent. During his early career, Degas also painted portraits of individuals and groups; an example of the latter is The Bellelli Family (c.1858–67), a brilliantly composed and psychologically poignant portrayal of his aunt, her husband, and their children. In this painting, as in The Young Spartans and many later works, Degas was drawn to the tensions present between men and women. In his early paintings, Degas already evidenced the mature style that he would later develop more fully by cropping subjects awkwardly and by choosing unusual viewpoints.

, 1876, oil on canvas, by Edgar Degas]] By the late 1860s, Degas had shifted from his initial forays into history painting to an original observation of contemporary life. Racecourse scenes provided an opportunity to depict horses and their riders in a modern context. He began to paint women at work, milliners and laundresses. Mlle. Fiocre in the Ballet La Source, exhibited in the Salon of 1868, was his first major work to introduce a subject with which he would become especially identified, dancers.

In many subsequent paintings dancers were shown backstage or in rehearsal, emphasizing their status as professionals doing a job. From 1870 Degas increasingly painted ballet subjects, partly because they sold well and provided him with needed income after his brother's debts had left the family bankrupt. Degas began to paint café life as well, in works such as L’Absinthe and Singer with a Glove. His paintings often hinted at narrative content in a way that was highly ambiguous; for example, Interior (which has also been called The Rape) has presented a conundrum to art historians in search of a literary source—Thérèse Raquin has been suggested—but it may be a depiction of prostitution.

As his subject matter changed, so, too, did Degas's technique. The dark palette that bore the influence of Dutch painting gave way to the use of vivid colors and bold brushstrokes. Paintings such as Place de la Concorde read as "snapshots," freezing moments of time to portray them accurately, imparting a sense of movement. The lack of color in the 1874 Ballet Rehearsal on Stage and the 1876 The Ballet Instructor can be said to link with his interest in the new technique of photography. The changes to his palette, brushwork, and sense of composition all evidence the influence that both the Impressionist movement and modern photography, with its spontaneous images and off-kilter angles, had on his work.

Degas's mature style is distinguished by conspicuously unfinished passages, even in otherwise tightly rendered paintings. He frequently blamed his eye troubles for his inability to finish, an explanation that met with some skepticism from colleagues and collectors who reasoned, as Stuckey explains, that "his pictures could hardly have been executed by anyone with inadequate vision". The artist provided another clue when he described his predilection "to begin a hundred things and not finish one of them", and was in any case notoriously reluctant to consider a painting complete.

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, he portrayed a group of Jewish businessmen with a hint of anti-Semitism. In 1881 he 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 19th-century scientists to be evidence of innate criminality. In his paintings of dancers and laundresses, he 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.

, 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 he 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 he also returned to the medium of etching, which he had neglected for ten years, and began experimenting with less traditional printmaking media—lithographs and experimental monotypes. He was especially fascinated by the effects produced by monotype, and frequently reworked the printed images with pastel. By 1880, sculpture had become one more strand to Degas's continuing endeavour to explore different media, although the artist displayed only one sculpture publicly during his lifetime.

, 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.

For all the stylistic evolution, certain features of Degas's work remained the same throughout his life. He always painted indoors, preferring to work in his studio, either from memory or using models. The figure remained his primary subject; his few landscapes were produced from memory or imagination. It was not unusual for him to repeat a subject many times, varying the composition or treatment. He was a deliberative artist whose works, as Andrew Forge has written, "were prepared, calculated, practiced, developed in stages. They were made up of parts. The adjustment of each part to the whole, their linear arrangement, was the occasion for infinite reflection and experiment." Degas himself explained, "In art, nothing should look like chance, not even movement". Walter F. Maibaum, an authority on 19th and 20th century European art, said: “The moment I gazed upon these remarkable plasters I instantly knew that everything that had been written about Degas’ sculptures in the past had to be reconsidered”. After examining them, Dr. Gregory Hedberg, Director of European Art for Hirschl and Adler Galleries in New York, concluded that the entire group of plasters were made during Degas’s lifetime between 1887 and 1912 by the artist’s close friend Albert Bartholomé whom he entrusted with the task. It appears, from their condition and provenance, that no bronzes were ever cast from these 73 plasters.

Plans to cast the newly discovered Degas sculptures, which differ in the rendering of details from the Hébrard casts, have created disagreement among Degas scholars and admirers, some of whom are reserving judgment regarding the authenticity of the plasters.

Personality and politics

Degas, who believed that "the artist must live alone, and his private life must remain unknown", lived an outwardly uneventful life. In company he was known for his wit, which could often be cruel. He was characterized as an "old curmudgeon" by the novelist George Moore,

The Dreyfus Affair, which divided Paris from the 1890s to the early 1900s, further intensified his anti-Semitism. By the mid 1890s, he had broken off relations with all of his Jewish friends,

Reputation

During his life, public reception of Degas's work ranged from admiration to contempt. As a promising artist in the conventional mode, Degas had a number of paintings accepted in the Salon between 1865–1870. These works received praise from Pierre Puvis de Chavannes and the critic, Castagnary. He soon joined forces with the Impressionists, however, and rejected the rigid rules, judgements, and elitism of the Salon—just as the Salon and general public initially rejected the experimentalism of the Impressionists.

, sculpture by Edgar Degas]]

Degas's work was controversial, but was generally admired for its draftsmanship. His La Petite Danseuse de Quatorze Ans, or Little Dancer of Fourteen Years, which he displayed at the sixth Impressionist exhibition in 1881, was probably his most controversial piece; some critics decried what they thought its "appalling ugliness" while others saw in it a "blossoming".

In part Degas' originality consisted in disregarding the smooth, full surfaces and contours of classical sculpture ... [and] in garnishing his little statue with real hair and clothing made to scale like the accoutrements for a doll. These relatively "real" additions heightened the illusion, but they also posed searching questions, such as what can be referred to as "real" when art is concerned.

The suite of pastels depicting nudes that Degas exhibited in the eighth Impressionist Exhibition in 1886 produced "the most concentrated body of critical writing on the artist during his lifetime ... The overall reaction was positive and laudatory".

Recognized as an important artist in his lifetime, Degas is now considered "one of the founders of Impressionism". Though his work crossed many stylistic boundaries, his involvement with the other major figures of Impressionism and their exhibitions, his dynamic paintings and sketches of everyday life and activities, and his bold color experiments, served to finally tie him to the Impressionist movement as one of its greatest early artists.

His paintings, pastels, drawings, and sculptures are on prominent display in many museums.

Although Degas had no formal pupils, he greatly influenced several important painters, most notably Jean-Louis Forain, Mary Cassatt, and Walter Sickert; his greatest admirer may have been Henri de Toulouse-Lautrec.

Gallery

References

Notes

: [p] - The name Degas is pronounced as "Deh-Gah".

Sources

Armstrong, Carol (1991). Odd Man Out: Readings of the Work and Reputation of Edgar Degas. Chicago and London: University of Chicago Press. ISBN 0226026957

Bade, Patrick; Degas, Edgar (1992). Degas. London: Studio Editions. ISBN 1851708456

Baumann, Felix; Karabelnik, Marianne, et al. (1994). Degas Portraits. London: Merrell Holberton. ISBN 1-85894-014-1

Benedek, Nelly S. "Chronology of the Artist's Life." Degas. 2004. 21 May 2004.

Benedek, Nelly S. "Degas's Artistic Style." Degas. 2004. 21 March 2004.

Bowness, Alan. ed. (1965) "Edgar Degas." The Book of Art Volume 7. New York: Grolier Incorporated :41.

Brettell, Richard R.; McCullagh, Suzanne Folds (1984). Degas in The Art Institute of Chicago. New York: The Art Institute of Chicago and Harry N. Abrams, Inc. ISBN 0-86559-058-3

Brown, Marilyn (1994). Degas and the Business of Art: a Cotton Office in New Orleans. Pennsylvania State University Press. ISBN 0-271-00944-6

Canaday, John (1969). The Lives of the Painters Volume 3. New York: W.W. Norton and Company Inc.

Dorra, Henri. Art in Perspective New York: Harcourt Brace Jovanovich, Inc.:208

Dumas, Ann (1988). Degas's Mlle. Fiocre in Context. Brooklyn: The Brooklyn Museum. ISBN 0-87273-116-2

Dunlop, Ian (1979). Degas. New York, N.Y: Harper & Row.

"Edgar Degas, 1834-1917." The Book of Art Volume III (1976). New York: Grolier Incorporated:4.

Gordon, Robert; Forge, Andrew (1988). Degas. New York: Harry N. Abrams. ISBN 0-8109-1142-6

Growe, Bernd; Edgar Degas (1992). Edgar Degas, 1834-1917. Cologne: Benedikt Taschen. ISBN 3822805602

Guillaud, Jaqueline; Guillaud, Maurice (editors) (1985). Degas: Form and Space. New York: Rizzoli. ISBN 0-8478-5407-8

Hartt, Frederick (1976). "Degas" Art Volume 2. Englewood Cliffs, NJ: Prentice-Hall Inc.: 365.

"Impressionism." Praeger Encyclopedia of Art Volume 3 (1967). New York: Praeger Publishers: 952.

J. Paul Getty Trust "Walter Richard Sickert." 2003. 11 May 2004.

Kendall, Richard; Degas, Edgar; Druick, Douglas W.; Beale, Arthur (1998). Degas and The Little Dancer. New Haven: Yale University Press. ISBN 0300074972

Krämer, Felix (May 2007). "'Mon tableau de genre': Degas's 'Le Viol' and Gavarni's 'Lorette'". The Burlington Magazine 149 (1250).

Mannering, Douglas (1994). The Life and Works of Degas. Great Britain: Parragon Book Service Limited.

Muehlig, Linda D. (1979). Degas and the Dance, 5–27 April May 1979. Northampton, Mass.: Smith College Museum of Art.

Peugeot, Catherine, Sellier, Marie (2001). A Trip to the Orsay Museum. Paris: ADAGP: 39.

Reff, Theodore (1976). Degas the artist's mind. [New York]: Metropolitan Museum of Art. ISBN 0870991469

Roskill, Mark W. (1983). "Edgar Degas." Collier's Encyclopedia.

Thomson, Richard (1988). Degas: The Nudes. London: Thames and Hudson Ltd. ISBN 0-500-23509-0

Tinterow, Gary (1988). Degas. New York: The Metropolitan Museum of Art and National Gallery of Canada.

Turner, J. (2000). From Monet to Cézanne: late 19th-century French artists. Grove Art. New York: St Martin's Press. ISBN 0-312-22971-2

Werner, Alfred (1969) Degas Pastels. New York: Watson-Guptill. ISBN 0-8230-1276-X

Further reading

Capriati, Elio; I Segreti di Degas (2009). Milano: Mjm Editore. ISBN 978-88-95682-68-6

Valery, Paul; "Degas, Manet, Morisot" Princeton University Press, 1989.

External links

Edgar Degas at Hill-Stead Museum, Farmington, Connecticut

Edgar Degas at Norton Simon Museum, Pasadena, California

Edgar Degas - Life and Art

Degas at the WebMuseum

PBS on Degas

Degas, Sickert & Toulouse Lautrec at Tate

Edgar Degas biography, books & exhibition review by cosmopolis.ch

Edgar Degas Gallery at MuseumSyndicate

Degas at Musée d'Orsay, Paris, France

Edgar Degas paintings & interactive timeline

Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Edgar Degas. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.

The M.T Abraham Center For The Visual Arts

{| class=wikitable width="99%" | bgcolor="#F1F1FC" | : '''Related navpages: :*   :* |}

Category:1834 births Category:1917 deaths Category:People from Paris Category:French painters Category:French sculptors Category:French printmakers Category:French Roman Catholics Category:Impressionist painters Category:Impressionist sculptors Category:Lycée Louis-le-Grand alumni Category:French military personnel of the Franco-Prussian War Category:Burials at Montmartre Cemetery, Paris Category:Alumni of the École des Beaux-Arts

Name	Polina Semionova
Caption	Royal Ballet Principal Dancer
Birth date	1984
Birth place	Moscow, Russia
Occupation	Ballet dancer

Polina Semionova, born in Moscow in 1984, is a classical ballet dancer and Principal with the Berlin State Opera. She is regarded as a Prima Ballerina and is one of the youngest dancers to achieve this particular kind of recognition.

Studying at the Bolshoi Ballet School in Moscow, Russia, she won awards in the top ballet competitions; including a gold medal at the Moscow International Ballet Competition 2001, First Prize at the Vaganova-Prix Ballet Competition in St Petersburg 2002, and Junior Prize at the Nagoya (Japan) International Ballet Competition 2002.

Graduating in 2002, Semionova joined the Ballet Staatsoper Berlin as a principal upon the invitation of Vladimir Malakhov, becoming the youngest principal in the company's history at the age of 18. She toured Japan as Malakhov's partner, the reason he had invited her to be a principal in the company. He gave her the lead roles in The Nutcracker and La Bayadère during her first season, following with the role of Tatiana in Onegin, which became her favourite role.

In 2003, at the age of 19, Polina performed with the English National Ballet in Swan Lake, receiving approving reviews from English critics. The following year she joined the California Ballet in their production of The Sleeping Beauty, again impressing critics despite what they termed a disappointing overall ballet.

Appearing in Herbert Grönemeyer's music video "Demo (Letzter Tag)", which was later uploaded to the popular video site YouTube, brought her into the public eye both in the dance community and to the general public.

Polina is one of the featured artists on EuroArts DVD "Divine Dancers Live from Prague", in which she dances a pas-de-deux from the ballet "Manon".

Partners

Roberto Bolle, La Scala di Milano

Vladimir Malakhov, Staatsoper Berlin, American Ballet Theatre, Vienna State Opera, Stuttgart Ballet, National Ballet of Canada

Jose Manuel Carreno, American Ballet Theatre

Evan McKie, Stuttgart Ballet

Mathieu Ganio, Paris Opera Ballet

Igor Zelensky, Maryinsky Ballet

Jiri Jelinek, National Ballet Canada

References

Category:Living people Category:1984 births Category:Russian ballet dancers Category:Ballerinas

Franck Pourcel (11 August 1913 – 12 November 2000) was a French easy listening musician.

Biography

Born in Marseille, Pourcel's father started to teach him music at the age of six. Later Pourcel studied violin at the Conservatoire in Marseille, led several jazz ensembles, including the French Fiddlers, and spent a year in Paris at the Conservatoire.

By 1931 he was working as a violinist at the Théâtre des Variétés in Marseille, marrying Odette eight years later. He then became the musical director for Yves Montand and Lucienne Boyer, with whom he went on a world tour.

He emigrated to the United States in 1952, but returned to France the following year to record "Blue Tango" and the follow up "Limelight". In 1954 Pourcel recorded his first album on the Pathé-Marconi record label, with whom he would record a total of nine albums in a three year period. In 1956 he recorded his version of "Only You", which sold over one million copies by 1959, and was awarded a gold disc. It peaked at #9 in the United States Billboard pop chart. Between 1956 and 1972 he was the conductor for France at the Eurovision Song Contest.

By 1958 Pourcel commenced recording classical music. His series of Pages Célèbres led to him conduct the London Symphony Orchestra, The Society of Concerts for the Conservatoire, The BBC Orchestra at the Royal Festival Hall, and the Lamoureux Orchestra at the Salle Pleyel in Paris. In 1962 he co-composed with Paul Mauriat and Raymond Lefèvre the hit, "Chariot", which was recorded by Petula Clark and followed up by Peggy March as "I Will Follow Him". The song became the main theme for the film, Sister Act.

Pourcel recorded until 1995 with EMI. He died on 12 November 2000 in Neuilly-sur-Seine, at the age of 87, from Parkinson's disease.

Awards

He was rewarded with the following distinctions:

1956: The Grand prix du disque Français

1957: The Grand prix du disque in Brazil

1963: The Golden disc in Venezuela

1965: Amsterdam: The Edison Price (The equivalent of the film Oscars) for his orchestrations of Pop music

1968: Golden disc in Colombia for Disco Mundo

1969: Grand Prix du disque of the Charles Cros Academy in Paris

1970: Gold record in Japan

References

External links

Official Website

[ Frank Pourcel] at Allmusic

Category:1913 births Category:2000 deaths Category:Easy listening music Category:French musicians Category:French conductors (music)