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The painting shows Miss La La suspended from the rafters of the circus dome by a rope clenched between her teeth. The sense of suspended animation in the scene is consistent with Degas's larger interest in capturing fleeting moments. This work is Degas's only circus painting. Unlike his contemporaries like Henri de Toulouse-Lautrec and Georges Seurat, the focus is not on the action within the ring or the crowd's reactions; the viewer sees the spectacle as the audience would have done, gazing up at the daring feat taking place above. The pose of Miss La La was carefully studied and designed by Degas. In his earlier studies, he experimented with the frontal view of Miss La La instead of the profile view. In the sketches,

Miss La La's head turns backward, hiding her face from the audience, which is similar to her pose on posters advertising her performance. However, Degas later changed to the profile view, introducing more curves and arches as well as more movement. Some scholars have connected this pose to contemporary ethnographic photography, suggesting that the profile view turns the woman into "a representation of the race. By painting her in the profile view, Degas is not portraying her as merely a performer, but a representative for the women of colour and the working class.

Miss La La at the Cirque Fernando

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Miss La La at the Cirque Fernando Poster
Rolled • - 12x17 inches

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Miss La La at the Cirque Fernando Poster
Framed • - 12x17 inches

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Miss La La at the Cirque Fernando Art Print
Rolled • 8x12 inches

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Miss La La at the Cirque Fernando Art Print
Rolled • 12x18 inches

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Miss La La at the Cirque Fernando Art Print
Rolled • 16x24 inches

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Miss La La at the Cirque Fernando Art Print
Rolled • 20x30 inches

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Miss La La at the Cirque Fernando Canvas Print
Rolled • 8x12 inches

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Miss La La at the Cirque Fernando Canvas Print
Rolled • 12x18 inches

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Medium Size

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Miss La La at the Cirque Fernando Canvas Print
Rolled • 16x24 inches

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Miss La La at the Cirque Fernando Canvas Print
Rolled • 20x30 inches

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Miss La La at the Cirque Fernando Canvas Print
Wrapped • 8x12 inches

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Miss La La at the Cirque Fernando Canvas Print
Wrapped • 12x18 inches

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Medium Size

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Miss La La at the Cirque Fernando Canvas Print
Wrapped • 16x24 inches

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Large Size

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Miss La La at the Cirque Fernando Canvas Print
Wrapped • 20x30 inches

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Small Size

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Miss La La at the Cirque Fernando Canvas Framed Print
Framed • 8x12 inches

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Miss La La at the Cirque Fernando Canvas Framed Print
Framed • 12x18 inches

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Medium Size

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Miss La La at the Cirque Fernando Canvas Framed Print
Framed • 16x24 inches

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Large Size

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Miss La La at the Cirque Fernando Canvas Framed Print
Framed • 20x30 inches

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Miss La La at the Cirque Fernando Framed Print
Framed With Mat • 8x12 inches

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Miss La La at the Cirque Fernando Framed Print
Framed With Mat • 12x18 inches

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Medium Size

Medium Size

Miss La La at the Cirque Fernando Framed Print
Framed With Mat • 16x24 inches

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Large Size

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Miss La La at the Cirque Fernando Framed Print
Framed With Mat • 20x30 inches

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Miss La La at the Cirque Fernando Poster
Rolled • 24x30 inches

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Miss La La at the Cirque Fernando Poster
Framed • 24x30 inches

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Miss La La at the Cirque Fernando Large Canvas Print
Rolled • 24x36 inches

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Miss La La at the Cirque Fernando Large Canvas Print
Rolled • 36x54 inches

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Miss La La at the Cirque Fernando Large Canvas Print
Wrapped • 24x36 inches

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XX-Large Size

Miss La La at the Cirque Fernando Large Canvas Print
Wrapped • 36x54 inches

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X-Large Size

X-Large Size

Miss La La at the Cirque Fernando Large Framed Print
Framed With Mat • 24x36 inches

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XX-Large Size

XX-Large Size

Miss La La at the Cirque Fernando Large Framed Print
Framed With Mat • 36x54 inches

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The painting shows Miss La La suspended from the rafters of the circus dome by a rope clenched between her teeth. The sense of suspended animation in the scene is consistent with Degas's larger interest in capturing fleeting moments. This work is Degas's only circus painting. Unlike his contemporaries like Henri de Toulouse-Lautrec and Georges Seurat, the focus is not on the action within the ring or the crowd's reactions; the viewer sees the spectacle as the audience would have done, gazing up at the daring feat taking place above. The pose of Miss La La was carefully studied and designed by Degas. In his earlier studies, he experimented with the frontal view of Miss La La instead of the profile view. In the sketches, Miss La La's head turns backward, hiding her face from the audience, which is similar to her pose on posters advertising her performance. However, Degas later changed to the profile view, introducing more curves and arches as well as more movement. Some scholars have connected this pose to contemporary ethnographic photography, suggesting that the profile view turns the woman into "a representation of the race. By painting her in the profile view, Degas is not portraying her as merely a performer, but a representative for the women of colour and the working class.

Edgar Degas  (1834 - 1917) was a French artist born in the city of Paris. He is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist.Degar is famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance; more than half of his works depict dancers.

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