His intended message of this image is also facilitated or backed up by his claim that Degas had absorbed her artistic tradition outside people’s influences and later reinterpreted them in various innovative and inventive ways. He created and came up with a lot of information from a single work of art. From the art, it is evident, according to the author that Degas did an experiment with various techniques, thus breaking up the existing surface textures with hatching. He also contrasted the dry pastel with a wet one. Degas used watercolors and gouache in the softening of the contours of the figure. Degas, in this concept, is seen as an experienced artist in the use of colors to decorate hi artworks. He uses vivid yellow, orange, and turquoise, which area all features of saturated hues and complementary colors with which other several artists in his circle began to experience during the mid-1880s. The posture of the picture shows that Degas used the modern artistic styles. It is actually the same as the current postures taken by most live performing artists.
Theodore affirms that Degas applied Venatian art in the creation of the picture. His painting styles with the use of several colors are an indication of the use or application of the mentioned art that was popular during the mid-1860s. He says that the appearance of the picture was because of various works of other artists such as Tintoretto, Giorgione, and Veronose. Like other works of Degas such as Finding of Moses, Theodore asserts that most of the art styles used in the picture, were that of Tissot who wrote to him, “L’Assomtion du Titien m’a laisse froid-le Tintoret de Saint- Marc piquant une tete m’a bien…” Theodore goes ahead to explain the history of Degas artistic knowledge that he used in the making or compilation of the picture. He says that the knowledge on the use of colors in