Kiki Schirr's Controversial Theory: Could Edgar Degas Have Been Jack the Ripper?

The world of art and true crime rarely intersect in a way that captivates both enthusiasts and skeptics alike. Enter Kiki Schirr, a bold thinker with a theory as intriguing as it is contentious: Edgar Degas, the famed French artist, could have been Jack the Ripper. While this may sound like a far-fetched plot from a historical fiction novel, Schirr has laid out a series of comparisons and similarities that, at the very least, provoke thought and discussion.

Misogyny and Misconceptions

First, Schirr points out the misogynistic tendencies of both Degas and Jack the Ripper. Degas is well-documented as having a disdainful view of women, particularly those he believed to be prostitutes. His harsh and often cruel remarks about women align disturbingly with the profile of Jack the Ripper, who targeted women he assumed to be prostitutes. This shared contempt for women forms a dark psychological parallel that Schirr believes is more than coincidental.

Stargardt's Syndrome and the "Dark Spot"

Degas suffered from Stargardt's syndrome, a degenerative eye disease that leads to progressive vision loss. This condition causes a central blind spot, or scotoma, in the affected individual's vision. Schirr draws a speculative connection between this "dark spot" and research suggesting some serial killers have anomalies in the orbital frontal cortex of their brains. While medical literature does NOT support a direct link between Stargardt's syndrome and such brain anomalies, the metaphorical connection is intriguing and adds a layer of macabre fascination to her theory.

Paris to London: A Murderous Commute?

One of the more logistical aspects of Schirr's theory is the geographical one. Degas lived in Paris, while Jack the Ripper's murders occurred in London. Schirr claims that the journey between these cities, though arduous by today's standards, was feasible in the late 1800s. It would take about eight hours to travel from Paris to London by train, making it possible, though challenging, for Degas to commit the murders and return. Schirr also references a letter from James McNeill Whistler, chiding Degas for not coming to London for lunch, suggesting Degas may have visited London more frequently than records indicate.

The South of France Alibi

Schirr also highlights two instances where Degas took trips to the south of France coinciding with some of the Ripper murders. During these trips, he reportedly wrote letters to several people he seldom corresponded with, which Schirr interprets as Degas setting up an alibi. This behavior, while suspicious in the context of her theory, requires further verification. Historical records of Degas' correspondence could potentially shed light on whether this was a regular habit or an out-of-character anomaly.

Anatomical Knowledge

The Ripper's knowledge of anatomy has been a point of contention among historians and criminologists. Some believe he was a surgeon, while others argue his cuts were too crude for a medical professional, suggesting a layperson with anatomical knowledge. Degas, as a classically trained artist, would have had a thorough understanding of human anatomy. Schirr posits that Degas attended dissections to enhance his artistic skills, though concrete evidence of this is lacking.

The Goulston Street Graffito

One of the most cryptic pieces of evidence in the Jack the Ripper case is the Goulston Street Graffito: "The Juwes are the men that will not be blamed for nothing." The unusual syntax and spelling suggest the writer was not a native English speaker. Degas, a Frenchman and known anti-Semite, fits this linguistic profile. Furthermore, the graffito was written in chalk, a medium familiar to Degas, who often used pastels. This detail, while circumstantial, adds another layer to Schirr's argument.

Ballerinas and Ballerinas' Chokers

Finally, Schirr draws parallels between Degas' famous ballerina paintings and the Ripper's victims. She suggests that Degas' focus on the ballerinas' bodies, rather than their faces, dehumanizes them in a way similar to how the Ripper dehumanized his victims. Moreover, the chokers worn by the ballerinas in many of Degas' works eerily resemble the way Jack the Ripper slashed his victims' throats. This symbolic connection, while speculative, is undeniably haunting.

Degas: An Awful Misogynist or a Monstrous Murderer?

Degas was undeniably a complicated and often unpleasant individual. His misogyny, anti-Semitism, and general misanthropy paint a portrait of a man with dark tendencies. However, the leap from a misogynistic artist to one of history's most infamous serial killers requires substantial evidence.

While Schirr's theory is provocative and compelling, it remains speculative. The connections she draws between Degas and Jack the Ripper, while intriguing, are largely circumstantial. Historical records, medical evidence, and further scholarly research would be necessary to move her theory from the realm of possibility to probability.

In the end, Kiki Schirr's theory serves as a reminder of the fascinating intersections between art and crime, and the enduring mysteries that continue to captivate our collective imagination. Whether or not Degas was Jack the Ripper, the very consideration invites us to look closer at the dark edges of history, where truth and speculation blur into a canvas of endless intrigue.