Degas’ early notebooks suggest that he was aware not only of the intrigue of the majestic horse but also of the “relationship between horse and jockey” (Boggs, 21), so unsurprisingly Degas’ first painting addressing this “relationship” was Alexander and Bucephalus (1859-1861). In the Greek legend of Alexander and Bucephalus an entire town tries to subdue a rowdy young colt, but without success. Just as they are about to put it down, a young Alexander realizes the horse was simply being irritated by the sun, and he steps in and covers it eyes, thereby taming it. Degas interprets the story with a painting, and in it he depicts a young Alexander controlling a wild colt, only after all other attempts failed, by covering its eyes. This first work is important, as even in the earliest stages of painting horses, Degas was focused specifically on the aspect of controlling them. Moreover, subtle implications alluding to Degas feelings about horses and why he would portray the horse as uncontrollable later on in his paintings are present in Alexander and Bucephalus. The entire community had tried and failed to control the horse, and the Alexander was the only one who could attain control and therefore the only one who was worthy of it. And if only the mighty Alexander was worthy, it is clear that the horse was a legendary force and therefore uncontrollable to mere mortals. Degas clearly identified with this ancient respect, and he adopted this philosophy in this painting.
Images:
Degas, Edgar. Alexander and Bucephalus, 1859-1861. National Gallery of Art, Washington.