However, in a social setting, it is normal for low achievers and those who do not shine in every undertaking especially in music to experience stress, which is evident from a lone dancer leaning on the wall on her forehead. This action usually actualizes the Degas portrait, thus implying that it is real and not a product of imagination or illusion. Beside the master, there is a watering can (for watering the floor to maintain its quality), violin bag and hat holding the tutoring notes pamphlet.
Degas has immensely and skillfully utilized color where in this portrait they are white and black coupled with varied shades. White is evident in the color of the dancers’ clothes and the pamphlet where they have blended to bring out the contrast amid the environment and the perfumers (since black and white complementary). Besides, the artist has diversely illuminated the entire portrait where more intensity is in the forefront contrary to the back. It seems the light emanates from the front where the artist takes the entire scene (The Metropolitan Museum of Art). Conversely, there is a ray entering in the dancehall from the back slightly opened the door, but it is not powerful enough to cast an illumination on the floor. There are no organic shapes except regular, which are evident in various objects across the dancehall. For illustration, the oval-topped mirror, rectangular shapes (door and bottom of the mirror) and circular master’s hat. Light has induced aspects of value via varying shades from the front to back. This has created depth, which is evident in the portrait and whose extension starts from the front towards the back. The portrait is asymmetrical since its activities seem to dominate the left side, but it depicts unity where the dispersion of the dancers yields to the utilization of the entire room.
The portrait is a public image regarding meticulous process,