Everett Shinn and many of his contemporaries spent their early years as newspaper illustrators, learning, as he said, to “observe…and get the job done.” For The White Ballet, he used his reportorial eye and the
compositional devices of Degas and Toulouse-Lautrec to capture what he called “the uptown life.” Cropped views of the orchestra pit and the stage collapse the distance between the spectators and the show, and dramatic
lighting puts the viewer in the thick of the action. At the turn of the twentieth century, theatres of all kinds thrived in America’s cities, providing public arenas where the rich and the wage-earners alike could
see and be seen. Shinn embraced the spectacle of urban life, and once said that although he often looked to “night courts, dives, docks and dance halls” for his subjects, the lives of the well-to-do and the “sweep
of furs and swish of wild boas” provided his most exciting themes.
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