Dancer with Raised Arms 1891

Editor: We’re looking at Edgar Degas' "Dancer with Raised Arms" from 1891, a pastel piece currently in a private collection. I’m struck by the contrast between the darkness of the background and the lightness of the dancer’s tutu. How do you interpret this work? Curator: Degas, while celebrated, presents a complex figure when viewed through a contemporary lens. While Impressionism sought to capture fleeting moments, we must ask: Whose moments are being privileged and at whose expense? Here, the lone ballerina becomes a symbol of the male gaze prevalent in the late 19th century. Editor: Male gaze? Could you explain what you mean by that in this context? Curator: Consider the position of power inherent in the artist-model relationship, amplified by the social dynamics of the time. These dancers, often from working-class backgrounds, were subject to the scrutiny and patronage of wealthy men. The beauty we see is often intertwined with exploitation and limited agency. How does that reframing influence your perception? Editor: That’s a really important point. It’s easy to get lost in the aesthetics but crucial to consider the power dynamics. Now I can't ignore it; I am looking more critically. The seeming casualness of the composition almost normalizes something that shouldn't be. Curator: Exactly. And that’s where art history intersects with social justice. Degas gives us an opportunity, and arguably a responsibility, to critique the structures that shaped his art and our perceptions of it. I leave this image with a great deal more critical questioning. Editor: This deeper contextual understanding has made the work far more interesting and problematic at the same time! It certainly highlights that when analysing artwork, understanding power relations is central.