In order to understand the relevance of these claims about Renoir’s dancing couples, we must first examine the circumstances of dance in the late nineteenth century when Renoir painted these couples.
Dancing at this time was a fun way to spend a Sunday afternoon in summer or autumn (Weisberg 66). Male clerks, artists, students, workingmen, danced with pretty girls of the working class: hat-makers, seamstresses, dressmakers, flower sellers etc. (Rivière qtd Adriani 158). Dancing was a one-on-one engagement. It is an intimate affair in which two people share a few special moments, either as lovers or acquaintances. Men and women danced in couples facing each other. The men would lead the women around the dance floor spinning them around. They performed such steps as the waltz, in time with the music from a live orchestra or just someone playing the piano (Renoir 202). The couples would look at each other to keep in time with the music, as demonstrated in the photograph of a dancing hall in Monneret’s book, Renoir (Monneret 45). In the photograph, we can see that the men and women dancing are facing each other and are smiling. Their mouths are open and curved up, grinning with their teeth showing. This suggests the dancing was fun and invigorating. The women seem to enjoy twirling, almost lifted off their feet. The couples spin and seem to feel exhilaration. Thus, dance was a happy activity in which many people participated.
Photograph of Moulin de la Galette from Monneret, Sophie. Renoir. Paris: Chêne, 1989.