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Dancers Backstage

Edgar Degas1876/1883

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

_Dancers Backstage_ depicts an informal, behind-the-scenes moment at the ballet—the type of scene that most intrigued Degas. Four figures occupy the painting: a dancer who stands onstage with her back to the viewer and a group of three figures—two dancers and a man in black evening clothes—who stand just offstage behind a painted stage flat.


The interaction between the man and the dancer to his left is the fulcrum of the composition. The man’s attire marks him as an _abonné_, one of the wealthy male subscribers to the Paris Opéra. Accorded the privilege of backstage access, the abonnés often lurked in the wings while productions were under way and flirted with the young dancers. There can be no mistaking the man’s intentions toward the woman beside him. In response, the dancer has turned away, her stance—head tilted down and arms folded—suggesting indifference.


Given its modest scale and rapidly painted surface, _Dancers Backstage_ may have been intended as a sketch for a larger work. No such work was ever executed, however, and it is equally possible that Degas considered this jewel-like painting fully realized. He showed it to great acclaim in 1881 at the sixth impressionist exhibition.

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  • Title: Dancers Backstage
  • Creator: Edgar Degas
  • Date Created: 1876/1883
  • Physical Dimensions: overall: 24.2 x 18.8 cm (9 1/2 x 7 3/8 in.) framed: 43.5 × 38.1 × 9.53 cm (17 1/8 × 15 × 3 3/4 in.)
  • Provenance: Théodore Duret [1838-1927], Paris; (his sale, Galerie George Petit, Paris, 19 March 1894, no. 12); purchased by (Durand-Ruel, Paris); transferred 27 February 1895 to to (Durand-Ruel, New York); sold 31 December 1928 to (Alex Reid & Lefèvre, Glasgow and London);[1] possibly sold 1929 to D.W.T. Cargill [1872-1939]. [2] (Carroll Carstairs Gallery, New York); sold 3 June 1948 to Ailsa Mellon Bruce [1901-1969], New York;[3] bequest 1970 to NGA. [1] Information regarding Durand-Ruel's acquisition and disposition of the painting according to a letter dated 20 December 1977, in NGA curatorial files. [2] A painting of this subject, very close in dimensions to the NGA picture, listed in Reid & Lefèvre Pictures Sold, sheet no. 146, #274/28 B 1642, as acquired December 1928 from Durand-Ruel and sold to Cargill in April 1929. (Lefèvre archives, Hyman Kreitman Research Centre, Tate Britain, London, TGA 2002/11, Box 283). The Reid & Lefèvre painting is dated 1882, and a Reid & Lefèvre label on the back of the NGA picture likewise gives this date. There are no Degas paintings included in Cargill's estate sale held at Christie's, London, 2 May 1947. [3] Date and source of Mrs. Bruce's acquisition according to her records, now in NGA curatorial files.
  • Rights: CC0
  • Medium: oil on canvas
National Gallery of Art, Washington DC

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