Degas’ ballerinas, that are the focus of many of his paintings, are tantalizingly beautiful. Painted with elegance and grace that captures your attention and draws you into the piece. Degas study of the female form in motion is intriguing with his graceful depiction of soft, curved limbs and light airy figures. His ballerinas are ornately crafted. They lift and flow across the canvas. But often, this fluidity is upset by one or more well dressed male figures that appear within the paintings. They do not interact with the viewer, they are focused solely on the ballerina(s) within the piece. The question being raised is; who are the men in Degas ballet paintings and why do they not interact with the viewer? Are they voyeuristic, misogynistic, or innocent? Are they a lover, admirer, or supportive partner or parent? Although a direct conversation with Degas or male society in the late 19th century would be impossible, observing the consistent use of the ambiguous male figure(s) in many of his ballet paintings shows the importance of these questions. They appear in obscure places and once you see them, Degas beautiful, innocent ballet paintings begin to unsettle the viewer and cause to question what message he was trying to get across.
Ballet Class, The Dance Hall, 1880, oil on canvas, Edgar Degas, Philadelphia Museum of Art, Philadelphia, PA, US, source: https://www.wikiart.org/
In this piece, Degas is painting a ballet class in session. Ballerinas are warming up, looking at their reflection in the mirror, a woman sitting in a chair, who is more than likely a mother, reading the newspaper, and then a man behind the two girls on the right. Who is he? Is he the dance instructor or is he an admirer? What is his role in this painting?
This painting is one that affirm the question being asked. The ballerina in focus is gracefully floating across the stage. The viewer’s eyes are drawn to the wings of the stage where there are two ballerinas waiting to come on stage. And then there is a man. His face cannot be seen, only the side of his body, but it is evident that he does not belong. A repetitive question that is asked is “Who is he?”
Degas is again using a perspective that is not one that would have not been visible when attending the ballet. It is backstage or in the wings off to the side of the ballet. One ballerina is seen in the distance who is not in motion and then to the right, there is a ballerina standing with her arms folding with her back to a man who is just barely in the painting. He is facing the ballerina, but her back is to him refusing to interact with him. What is he doing backstage? Is he a supportive parent or desperate admirer?
The Rehearsal of the Ballet on Stage, 1874, oil, watercolor and pastel over pen and ink on cream colored wove paper, Edgar Degas, 29.160.26
In this painting, Degas uses perspective to show the dynamics of a ballet rehearsal. Some ballerinas are warming up, others are standing to the side waiting. There are three men in this piece, one is the instruction or director, because he is motioning to the ballerinas. The other two men off to the right, we don’t know who they are. Are they producers or directors of the ballet who are observing or are they admirers who have come to watch the ballerinas practice?
The Entrance of the Masked Dancers, 1879-1882, pastels, Edgar Degas, Clark Art Institute, Williamstown, MA, US, source: https://www.wikiart.org/
This is one of the more disturbing pieces that makes the viewer uneasy and question what exactly Degas meant by including these ambiguous male figures in his painting. From the viewer’s perspective, two ballerinas are behind the scenes waiting to go on, while in the background many dancers are already performing. It’s hard to decide where exactly his point of view is in relation to the stage. One thing that throws off the viewer's perception is the man that is peering from behind the curtain in the top left hand side. Who is he? Why was he allowed backstage? What is his motive for being there?
In this piece Degas is painting in a different perspective that is ambiguous. There is the backdrop of the stage and the ballerina’s legs just behind it. And then there are the men. Top hats and dress coats, with their backs to you, not interacting with the viewer. Why were they allowed backstage? What are they doing there?
Dancer’s Dressing Room, 1878, pastels, Edgar Degas, Private collection, source: https://www.wikiart.org/
This is one of the less questionable pieces that Degas has painted. This is from the perspective of the backstage where the ballerina in the picture is getting ready to go on stage. A woman to her right is fluffing her skirt and a man is kneeling beside her on the left. Is he her father? Is he a lover? Dance instructor? There are so many unanswered questions in these pieces that there will probably never be answers to. Degas includes these men for a reason and their ambiguity is intriguing and mysterious.
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