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Dancer Stretching


One anonymous critic elaborated on Degas" flawed dancer. He said: "The pain of stretching one's toes on pointe is shown on the dancer's face in the pastel, Dancer Stretching. She is anguished and tries to stop the tears by closing her eyes. In an effort to distract herself from the searing numbness in her feet, she is clenching her hand into a tight fist. The dancer is seen as an athlete and at the same time, vulnerable. [She is] young, delicate, and dedicated. However, [she] is also under pressure, tired, and imperfect. [It] seems to be an intrusion into the otherwise guarded world of dance" (1:2). .
             Edgar Degas" use of line is a primary and conspicuous element of this particular composition. The quality is outstandingly painterly as the lines are indistinct and run together. Actual diagonal lines are used in several places to lead the viewer's eye to exact locations. The primary example is the dancer's left arm. It extends diagonally past her head to convey the action of stretching. The diagonal lines extending from the tutu show the ballerina's unexpected curves. .
             From a distance, the subject's environment appears fuzzy and shaded. Upon taking a closer look, the shading is actually smudges from the pastels. Rather than erasing the smudges and using precise shading, Degas enjoyed the gloomy effect it added to the dancer. It allows the subject to be freestanding rather than tactically placed in a formal environment such as a rehearsal room or stage (1:2). The viewer only sees what the artist envisioned and focuses on the girl. Degas" messy use of pastels also allowed him to show detailed texture. .
             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.


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