Marie Dihau 1867 - 1868

Editor: We’re looking at Degas’s “Marie Dihau,” an oil painting from around 1867-68. It’s quite small, and I'm immediately drawn to the contrasting textures—the soft rendering of Marie's face versus the almost harsh lines of her bag. How do you interpret this work, considering Degas's societal context? Curator: Well, first notice how Marie Dihau, a singer and Degas' friend, isn't idealized. Instead, we get this rather somber and withdrawn portrayal. Degas challenges traditional portraiture and, perhaps subtly, societal expectations of women’s roles. This was during a time of significant shifts in class structure. Considering Marie was a musician, where would she situate herself in the public role of women in the arts? Editor: That's fascinating. So, it’s not just about depicting her likeness, but about commenting on her position within society? The rather subdued palette feels intentional, adding to that sense of quiet commentary, don't you think? Curator: Exactly! The dark colors almost absorb her figure, drawing attention instead to her psychological space within, not her physical presence outside, as tradition expects. It begs the question, what kind of public persona would the painting serve? Was it simply meant for Degas? Editor: I see what you mean! Thinking about the context of art institutions displaying women beyond Muses and Mothers certainly shifts how I viewed Degas' motivation! Curator: Right, because while the Impressionists, including Degas, sought to capture modern life, they also navigated social conventions, sometimes reinforcing them, sometimes challenging them. How artists navigate these conventions really speaks to who and how public they perceived these pieces being seen. Editor: Thanks! I will view portraits through a more discerning historical perspective from now on! Curator: Remember that paintings reflect societal expectations of what the public needs at the time as well, it can sometimes be more challenging than simply an expression.