Four Heads of Women 1876 - 1877

Editor: Here we have Edgar Degas' "Four Heads of Women," a lithograph from around 1876-77. There's a kind of detached observation about it, like we're viewing these women through a distant lens. What do you see in this print? Curator: I see a potent commentary on the representation of women during the Impressionist era. Degas presents these figures not as individuals, but as types, reflecting the male gaze that dominated artistic circles at the time. How do their expressions strike you, or their arrangement on the page? Editor: Well, they all seem to be in profile or slightly turned away, and there’s a sameness to their fashionable attire. It’s like they’re being categorized. Does that connect to something larger? Curator: Absolutely. This work speaks to the commodification of women in 19th-century Parisian society. Degas frequented the ballet and the races; he had opportunities to observe the bourgeoisie. Considering that social context, and given that his prints allowed for distribution to a broad public, does that categorization have more or less resonance? Editor: More, definitely. It points to the constraints women faced then, in terms of societal expectations. Curator: Precisely. It prompts us to think about how images can reinforce social norms or, conversely, challenge them. Hopefully, our institutions are moving towards the latter now. Editor: This was really illuminating, it’s made me see the print as a critical social document, beyond just a pretty image. Curator: Indeed. Art is rarely ever just about aesthetics. It holds up a mirror to society, reflecting its values, biases, and power structures. Thank you for the chance to share in this discussion.