Dancer Stretching, a pastel by Edgar Degas, was painted over a three year time period from 1882 through 1885 (3:1). Degas, a French painter, used pastels on a blue and gray paper to depict a stretching ballerina. His chose to work with pastels because they were much quicker to work with than paint and allowed him to apply several layers and correct his work as often as he needed (4:4). This particular work was left unsigned by Degas. He only autographed his paintings either at the point of sale or exhibition. “Dancer Stretching” is a later piece in his life and he did not get the chance to sell it or display it publicly. Therefore, the executors of his estate stamped his name in red ink on the piece when it was put up for sale along with the rest of Degas’ estate and art (3:2). The Kimbell Art Museum in Ft. Worth, Texas acquired Dancer Stretching in 1968 and it now resides in the museum’s permanent collection (3:1).

Dancer Stretching was painted from an actual ballerina Degas saw. The artist is well known for his adimate interest in the ballet and opera (4:3). It was not unusual or uncommon for him to go to certain ballets and operas up to thirty times! (1:2) The artist would just capture an unnatural quick moment and store it in his memory until he proceeds to paint it (1:4). This particular work of art remained at his estate until he passed in 1912 in his native city Paris, France. His executors of his will then sold it. It now belongs to the Kimbell Art Museum. The remainder of his collection is spread amongst several other galleries all over the world.

When looking at the ballerina, the onlooker falls into her world since she appears so actual and real. Degas used broad strokes to provide implied two-dimensional texture (3:2). Thus, the skirt appears fluffy and scratchy, just as tulle would be in real life. The flaccid bow makes the material to be satin or silk. Degas also used his strokes to create folds and wrinkles in her costume. This allows her to look natural instead of starched. Texture allows the viewer a realistic glimpse into exactly what Degas envisioned.

Edgar Degas had a fascination with the use of color, as did other fellow impressionists. He used his strokes to “contrast pure colors to create new light” (6:2). The use of cool colors fittingly sets a somber mood for the composition. The blue, gray, and tan hues imply low value. Degas also used chiaroscuro to make the dancer pop out of the background. Although Degas frequently used high value colors and warm hues in his art, he had mastered the technique of setting moods by color choice. This subject is not intended to make one smile or think of a flawless ballerina; It is intended to show the anguish the young woman is experiencing in order to become a flawless ballerina. The gray color is used for texture and shading while the blue is placed intensely on the oblique area and under the arms. Perhaps Degas did this to represent perspiration from hard work.

Dancer Stretching as well as Degas’

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