Abstract
This article reconsiders Edgar Degas's lifelong fascination with the working routine of the ballet dancer, alongside other forms of female labor represented in his artworks by laundresses, milliners, bathers, and prostitutes. I analyze Degas's repeated exploration of gesture, phrasing, line, and shape in the dance images in connection with the visual artist's own labor-intensive methods of art making. I argue that his approach to different movement vocabularies eventually breaks away from the virtuoso myths of Romantic works of art to reveal a diverse range of daily rhythms that express the strain and discipline of modern cultural production performed by women.
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