When Woman Having Her Hair Combed was first exhibited in 1886, it was met with both admiration and confusion: critics noted how Edgar Degas had turned away from his earlier ballet scenes to focus on the private, unguarded rituals of women in their homes. This painting is one of a small group Degas created in the mid-1880s, all exploring the intimate act of hairdressing—a subject he returned to repeatedly, fascinated by its everyday grace and the challenge it posed to traditional notions of beauty in art. The model’s identity remains uncertain, adding to the sense of universality and anonymity that pervades the series. In this scene, we catch a moment of tension and tenderness: a woman sits, her back to the viewer, as another carefully combs out her long auburn hair.

The composition draws the eye along the curve of the sitter’s spine and the sweep of her hair, while the cropped, close perspective and warm, muted colors create a sense of enclosure. The woman’s arms are raised, her body twisting slightly—a pose that emphasizes both vulnerability and strength. Unlike the polished, mythological bathers of Ingres, Degas’s subject is unidealized, her discomfort and fatigue made visible.

The act of grooming, usually hidden from public view, becomes a quiet drama of care and endurance. The exact medium of Woman Having Her Hair Combed is not always noted, but Degas was experimenting in these years with pastel, oil, and combinations of both, layering color to achieve a softness and immediacy unique to his late work. The painting’s provenance is typical of many works by Degas: likely sold through the dealer Paul Durand-Ruel, it has passed through private collections before finding its place in a major museum. This period marks a turning point for Degas, as he withdrew from public life and focused on scenes of domestic interior, pushing the boundaries of composition and technique.

Today, the painting stands as a testament to his relentless observation of modern life and his refusal to idealize what he saw.