Bather Stepping into a Tub

Edgar Degas; 1 ft. 10 1/64 in.x 1 ft. 6 47/64 in.; pastel and charcoal on blue laid paper, mounted at perimeter on backing board

Four Dancers

Edgar Degas; 4 ft. 11 31/64 in.x 5 ft. 10 15/16 in.; oil on canvas

Dancer Tying Her Shoe

Edgar Degas; 1 ft. 6 37/64 in. x 1 ft. 4 59/64 in.; pastel and black chalk on buff pape

Édouard Manet, Seated, Holding His Hat

Edgar Degas; 1 ft. 1 1/32 in.x 9 1/16 in.; graphite and black chalk on wove (China) paper

The Lute Player

Edgar Degas; 6 19/64 in.x 8 15/32 in.; print on paper

Sulking

Edgar Degas; 1 ft. 3/4 in.x 1 ft. 6 17/64 in.; oil on canvas

The Rehearsal of the Ballet Onstage

Edgar Degas; 1 ft. 9 3/8 in.x 2 ft. 4 47/64 in.; oil colors freely mixed with turpentine, with traces of watercolor and pastel over pen-and-ink drawing on cream-colored wove paper, laid down on bristol board and mounted on canvas

Édouard Manet at the Races

Edgar Degas; 1 ft. 41/64 in.x 9 11/16 in.; graphite and black chalk on beige wove paper on paper

Seated Dancer

Edgar Degas; 1 ft. 4 17/32 in.x 1 ft. 19/32 in.; graphite and charcoal heightened with white on pink wove paper; squared for transfer

Dancers in the Rehearsal Room with a Double Bass

Edgar Degas; 1 ft. 3 25/64 in.x 2 ft. 11 15/64 in.; oil on canvas

Dancers in the Rehearsal Room with a Double Bass

Edgar Degas; 1 ft. 3 25/64 in.x 2 ft. 11 15/64 in.; oil on canvas

The Dance Lesson

Edgar Degas; 2 ft. 1 25/64 in.x 1 ft. 10 1/8 in.; pastel and black chalk on three pieces of wove paper, joined together

Melt inclusions from volcan de Colima, Mexico: complex examples of magmatic differentiation

Melt inclusions are minute magma bodies trapped within growing crystals. Their chemical compositions are useful in deciphering pre-eruptive conditions and magma evolution. The present study examined melt inclusions trapped in phenocrysts from the 3rd and 4th magmatic cycles (1869-1988) at Volcan de Colima, Mexico. Melt inclusions have highly evolved chemical compositions: 65-77% SiO2, >12% A12O3, 3-6% Na2O and K20 and less than 5.5% Fe and Mg. Major element compositions suggest that they are strongly differentiated magmas controlled by fractionation of plagioclase, opx, cpx and hornblende. Water concentrations were measured to be 2.7-3.5 wt. % in cpx hosted inclusions and 0.3-0.7 wt % in opx and plagioclase. Trace element compositions are anomalously low and inversely correlate with water. From this we deduce that Colima lavas and scorias simultaneously differentiate and degas. Moreover, hornblende rim growth rates constrain the ascent of the Colima magmas to -100 days for passive eruptions and >4 days for plinian eruptions.

Picasso y Cornuty. La absenta como adicción cambiosecular europea

Electricity coined the nightlife in the European capital par excellence in the late nineteenth and early twentieth century: Paris. Under the artificial reflection dandies, elegant workers, and bohemians flocked to the new playground. Painters, converted to urban chroniclers, show pictorial modernity and vitality; in the canvas of Manet, Toulouse-Lautrec, Degas or Jean Béraud we see a common element: the glass of absinthe on the table. The absinthe took sacrosanct dyes in the daily living of Parisian habitants and became an indispensable ritual to Henri Albert Cornuty, a poet who was part of the Madrid bohemian and in the gallery of disinherited that Picasso painted in blue stage. A writer and a painter that bring us to the drink-image of the intelligentsia of the time; this elixir was attributed with hypnotic, aphrodisiac and hallucinogenic powers; the myth of absinthe was part of the imaginary Paris at end of the century, an iconography that continues shaping identity in the twenty-first century.