In an early review of Margaret’s work, Elwyn Lynn commented on her “dashing verve and French joie-de-vivre”, an approach particularly in evidence with this work. The style of the work and title suggest a reference to Henri de Toulouse Lautrec, strippers and dancers, a favourite subject, his ability to immortalise their style and sexuality a defining aspect of the cabarets of Montmartre.

Yet it is an unusual subject for Margaret, sexuality not a typical focus. It is interesting that she adopts the soft muted greens of Toulouse Lautrec, the colours often seen in the painted faces of his women, the light of a dance hall reflecting the theatricality of the space. There is a sketch from this period, Warming up with Henri (Toulouse Lautrec) c2005, that suggests she was looking at his work at this time 

There is a swagger about the stripper as she prances across the stage in front of Margaret, the contrast with the ballet dancers she was used to drawing could not be greater. She has imagined herself in a Parisian bar as life swirls around her, just as the French Impressionists were known to frequent such places.

The stripper in Margaret’s picture commands her space, she has power, the admiration by the artist clear in the stance. Margaret enjoyed the company of strong forthright women, drawing alongside Judy Casab and Nora Heysen while she also corresponded with several women who enjoyed prominent careers.

References

Elwyn Lynn, “Power and Passion,” 1993, cutting in AGNSW archives, Margaret Woodward.

Henri Souillac to Margaret Woodward, letter, AGNSW archives, ARC 460.12.3