Edgar Degas, a prominent figure of the Impressionist movement, ventured into sculpture, creating a piece that would both shock and captivate the art world. At the 1881 Impressionist Exhibition in Paris, he unveiled Little Dancer Aged Fourteen, his sole foray into publicly exhibited sculpture. This wax statuette, dressed in real fabric, would later become iconic, reproduced in numerous bronze casts after Degas’s passing, securing its place as a beloved and recognized artwork.
However, the initial reaction to the Little Dancer sculpture was far from celebratory. Critics largely condemned the piece, labeling it as ugly. Yet, even amidst the negative outcry, they acknowledged the sculpture’s undeniable realism and its radical departure from traditional forms. Degas’s innovative use of mixed media – wax combined with actual clothing – was groundbreaking. Furthermore, his choice of subject matter was considered strikingly modern: a young student dancer from the Paris Opera Ballet.
The model for this compelling little dancer sculpture was Marie van Goethem. Her background was typical of the young womenPopulating the Opera’s ballet school; she was the daughter of a Belgian tailor and a laundress, firmly rooted in the working class. These dancers were colloquially known as “petits rats de l’opéra,” or “opera rats,” a nickname alluding to their quick, scurrying movements on stage. The term, however, carried a darker connotation, hinting at the poverty and vulnerability associated with these young performers. Exposed to the potential exploitation by wealthy male patrons, these “opera rats” existed in a precarious social position. Degas keenly understood this “terrible reality,” as described by contemporary critic Joris-Karl Huysmans, and masterfully conveyed it in his little dancer sculpture.
The Little Dancer transcends mere representation; it is a deeply poignant and empathetic work of art. Despite her vulnerable circumstances, both physically constrained with her arms pulled back and psychologically burdened by her social standing, the fourteen-year-old dancer exudes a quiet dignity. Her erect posture and raised head speak volumes about her inner strength and resilience.
In the broader context of sculptural evolution, Degas’s little dancer sculpture stands as a pivotal work. It championed the revolutionary idea that any medium or technique is valid if it serves the artist’s expressive intent. Degas dared to depict a working-class subject, albeit within the artistic sphere, with unflinching realism and profound compassion, steering clear of moralistic judgment. Through this little dancer sculpture, Degas brilliantly captured the complex and often uneasy intersection of art and life, leaving an indelible mark on the history of sculpture and continuing to resonate with viewers today.
