Ballerinas in the restroom Zinaida Serebryakova (1884-1967)

The painting portrays a group of ballet dancers in what appears to be a backstage area, possibly a restroom or dressing room. Several figures are visible, some in mid-action, others attending to their attire.

In the foreground, a dancer is shown tying or adjusting her shoe, her back to the viewer, her layered tutu a prominent feature. To her left, another dancer, partially undressed, stands with one arm raised, her torso bare, her gaze directed slightly to the side. Her skirt, similar in style to the first dancers, is also visible. Further back, more dancers are depicted in various states of preparation or rest. One dancer is seen from behind, adjusting her hair or headdress, her yellow and black tutu also detailed. Other figures are more loosely rendered in the background, some in white tutus, suggesting a sense of movement and the bustling environment of a theater. The lighting is somewhat dim and appears to come from backstage sources, casting soft shadows and highlighting certain figures. The overall impression is one of intimacy and candidness, capturing moments of vulnerability and weariness alongside the polished performance.

The subtexts of Ballerinas in the restroom by Edgar Degas often revolve around the contrast between the glamorous public image of ballet and the private, often unglamorous reality of the dancers lives. Degas was known for his focus on the behind-the-scenes world of the ballet, depicting the dancers not just as idealized performers, but as working women. The painting can be seen as exploring themes of:

• The Labor of Performance: By showing the dancers in moments of rest, preparation, or tending to their costumes and bodies, Degas highlights the physical and emotional labor involved in achieving the illusion of effortless grace on stage.
• Vulnerability and Intimacy: The setting of a restroom or dressing room, a private space, allows Degas to capture the dancers in unguarded moments, revealing their humanity and vulnerability, away from the demanding gaze of the audience.
• Femininity and the Female Body: Degas frequently explored the female form, and in this painting, he depicts the dancers in various stages of dress and undress, offering a nuanced perspective on their bodies, which are both instruments of their art and subject to societal observation.
• The Illusion of Art: The painting implicitly comments on the constructed nature of performance and beauty. The rough, unfinished quality of the pastel, combined with the candid portrayal of the dancers less-than-perfect moments, underscores the effort and artifice required to create the illusion of perfection on stage.