Few paintings by Edgar Degas have inspired as much debate over their number and authorship as Before the Race. Degas returned to the theme of racehorses repeatedly in the 1870s and 1880s, producing at least three closely related works with this title, each exploring the tension and anticipation before the starting bell. Scholars still dispute how many versions exist, as Degas often reworked his compositions in oil, pastel, and even monotype, blurring the boundaries between finished painting and preparatory study.

This particular Before the Race, dated to 1882, is notable for its uncertain medium—some believe it to be oil, others pastel—adding another layer to the mystery. On the canvas, a trio of racehorses and their jockeys pause at the edge of the turf, muscles taut and nostrils flared, as if holding their breath before the explosive dash. The low horizon and sweeping sky draw the eye to the horses’ poised bodies, each rider’s posture betraying a different mood: one leans forward in concentration, another sits upright in calm readiness, while the third glances sideways, perhaps sizing up the competition. The cool, early morning light casts long shadows, emphasizing the stillness before motion.

Unlike Théodore Géricault’s dramatic, rearing horses, Degas captures a quieter, psychological suspense—the moment when everything is possible, but nothing has yet begun. Before the Race reflects Degas’s fascination with movement and modern life, a hallmark of the Impressionist circle, though he always remained an independent spirit. The painting’s early history is not fully documented; it likely passed through the hands of Parisian dealers and collectors attuned to Degas’s innovative approach to sporting scenes. Today, versions of this subject reside in several major museums, testament to its enduring appeal.

As with many of Degas’s works, the painting stands at the crossroads of observation and invention, blurring the line between study and finished piece, and offering a window into both the world of 19th-century racing and the restless creativity of its maker.