The incorporeality of the ballerina en pointe was eroticized through the very techniques that affected her otherworldliness. By focusing on the ballerina as supernatural, the middle classes could side-step “guilt about the quality of her work life.” This otherworldliness is taken up and emphasized in the prints of ballerinas. The commercial space of the stage is transformed into the abstract space of a classical scene or natural setting. This relocation of the dancer allowed her to fulfill the contradictory expectations that the middle-class man harboured. The realities of the impoverished and disreputable life of the dancer were effaced, leaving only the idealized and purified legs, arms, hips and bust of the dancer, who is depicted gazing out enticingly at the viewer.