Literature: Lennart Gottlieb: “Giersing. Maler . Kritiker . Menneske”, Copenhagen, 1995, ill. in colours p. 208. Literature: Lennart Gottlieb (ed): “Harald Giersing. Maleri . Ord . Musik”. Published in connection with the exhibition “Harald Giersing. Maleri . Ord . Musik”, Statens Museum for Kunst (National Gallery of Denmark), 7 October 1995–7 January 1996 and Aarhus Kunstmuseum, 28 January - 8 April 1996, ill. in colours.

Exhibited: Grønningen. Exhibition in Aarhusforeningen Moderne Kunst, May 1922, cat. no. 1. Exhibited: Grønningen. Niels Bangs Hus, Odense, June 1922, cat. no. 1. Exhibited: Grønningen. Den Frie Udstillings Bygning, Copenhagen, January-February 1925, cat. no. 31. Exhibited: “Giersing-Udstillingen - retrospective”, Kungl. Akademien för de fria konsterna, Stockholm, 8–30 November 1958 and Statens Museum for Kunst (National Gallery of Denmark), Copenhagen, December 1958. Exhibited: “Portrætter og figurbilleder”, Statens Museum for Kunst (National Gallery of Denmark), Copenhagen, 10 October - 10 November 1981. Exhibited: “Harald Giersing. Maleri . Ord . Musik”, Statens Museum for Kunst (National Gallery of Denmark), Copenhagen, 7 October 1995–7 January 1996 and Aarhus Kunstmuseum, 28 January - 8 April 1996, cat. no. 92, ill. in colours in the catalogue.

Provenance: Mille Giersing. Provenance: Lawyer Franz Giersing, Copenhagen. Thence by descent in the family.

-“The images of the dancers are fundamentally about the relationship between the figure and the ground and the relationship between the red and blue colours... the blue or bluish figures against a red ground. You can agree with the painter Vilhelm Bjerke-Petersen, who was a student of Giersing , that Giersing's pictorial elements always have some ”content of reality" and view the “Ballet Scene” as “magnificently strong in its contrasts – blood-red heat and cool human calculation (Ballet Scene) – we do not find the accidental relationship, but a carefully indicated one – in this case: the least possible (finger to finger) “a psychological reality” ...

Without knowledge of the source material, it is almost impossible to know what is actually going on in Giersing's painting; there is a lack of an anchor in a very literal sense. The position of the female dancer seems especially odd. But precisely by removing her seat and thus cancelling her static anchor in the lower part of the scene, Giersing has achieved an effect that the Swedish art critic Kristian Romare has described in a fine way: "The strange thing is that the painting dances. The clowns' limbs are painted flat as Matisse’s collages, their hands gracefully meet – index finger against index finger in a position like the tip of a spinning top. But their bodies are modelled plastically like a Legér form and emerges voluminously from the surface. The spinning top starts to spin. The female figure rises gracefully against the upper edge of the frame, her partner sinks down heavily and is pressed together against the lower edge!” The figures appear to revolve around the point where the two index fingers meet. The figures simply point to the point on the surface that binds them to it; the point where the image's energy is concentrated. The image, the painted image, points to itself as painted on the surface and as functioning on the surface. The spatial experience of the figures is ambiguous; they are perceived both as painted on and painted into the red surface. They step forward plastically, while at the same time seem on the verge of stepping back in relation to the red surface or being enveloped in its empty nothingness". Art historian Lennart Gottlieb in the book “Giersing. Maler. Kritiker. Menneske” (Giersing. Painter. Critic. Human), Copenhagen, 1995, page 209.