Edgar Degas – Young Woman by the Toilette, 1895 Sotheby’s

The pastel drawing presents a fleeting moment of intimacy and private ritual. A young woman is depicted in profile, engaged in what appears to be a grooming routine near a washstand. The composition is dominated by her back; the viewers perspective is oblique, suggesting an uninvited glimpse into a personal space.
The artist employed a muted palette, primarily utilizing earthy tones of beige and brown for the woman’s skin and the surrounding environment. These are punctuated by cooler blues and greens in the backdrop, creating a sense of depth and distance. The application of pastel is loose and expressive; lines are not sharply defined but rather blended to suggest texture and movement. This technique contributes to an overall feeling of spontaneity and immediacy.
The woman’s posture conveys a certain vulnerability and absorption. Her head is bowed, her gaze directed downwards towards the basin. She seems lost in thought or focused on the task at hand. The white skirt provides a stark contrast against her exposed back, drawing attention to the physicality of the figure while simultaneously maintaining a degree of modesty.
The washstand itself is cluttered with objects – bottles, jars, and towels – suggesting a lived-in space, one that holds personal significance for its occupant. These details contribute to the sense of realism and everyday life captured in the work. The arrangement of these items also creates visual interest, guiding the viewer’s eye around the composition.
Subtly, the drawing explores themes of femininity, privacy, and observation. The artist seems less interested in portraying a specific individual than in capturing a universal moment of quiet contemplation and self-care. There is an element of voyeurism inherent in the perspective; the viewer feels as though they are intruding upon a private scene. This tension between intimacy and distance adds complexity to the work, inviting reflection on the nature of observation and representation. The lack of a frontal view reinforces this sense of detachment, preventing direct engagement with the subject’s emotional state while simultaneously emphasizing her physical presence.