Degas's sculptures--three-dimensionality and action

The psychological self is formed largely by the steady accretion of forms of organizing experience. Outside of the interpersonal realm, these formal and categorical modes of organization can be incorporated through cyclical, continuous, and episodic interaction with modes of cultural expression, such as art, music, and poetry. Degas's sculptures, a highly experimental and personal section of his overall work, have particular formal modes of organization unique to this artist and to his particular era. Formal principles unique to Degas sculpture include the ways he rendered sculpted surfaces, masses in a state of action, and uniquely collaged materials. Degas's sculptures are proto-cinematic because they depict a brief instant in time, as opposed to a more prolonged narrative episode. Empathic, though unconscious, identification with the formal principles of Degas's sculptures shapes in the viewers ordering principles in the self that govern reactions to the vicissitudes of living, object relations, the sense of mortality, and the accomplishment of a sense of agency significant and consequential to the modern era.