At the Paris Opéra on 30 November 1885, the operatic ballet Le Cid by Jules Massenet premiered. It was especially created for the Spanish prima ballerina Rosita Mauri (1856-1923) and was a great success, helping to cement her international reputation as a prima ballerina and one of the leading dancers of her generation. In his memoirs, Massenet recalls visiting Henri d'Orléans, duc d'Aumale (1822–1897), at the Chateau de Chantilly during the premiere of the ballet in 1885. He was accompanied by other members of the Académie des Beaux-Arts (Academy of Fine Arts), including Léon Bonnat, Benjamin Constant, Jean-Léon Gérôme, and Édouard Detaille. This is presumably how Detaille and Mauri met.

Rosita Mauri was a Spanish ballet dancer who achieved great fame during the late 19th century. A prima ballerina of international reputation, she was frequently depicted by artists, sculptors, and photographers and was also the subject of several poetic tributes. Her performances were characterized by precision, emotional depth, and a magnetic stage presence that captivated audiences. Having trained at the prestigious La Scala Theatre Ballet School, she quickly gained recognition for her exceptional talent and began performing in various European theatres. Her style of dancing was characterized by a combination of technical prowess, graceful movements, and a natural ability to convey emotion through her performances. Her versatility allowed her to excel in both classical ballet and the emerging art form of modern dance. Throughout her career, Mauri’s talent allowed her to collaborate with many of the foremost choreographers and composers of her time.

Beyond her technical skill, Mauri was known for her expressive artistry and ability to connect with the audience. She also brought a sense of dramatic intensity and authenticity to her performances, immersing herself fully in the characters she portrayed. As a result, her impact on the ballet world was great, and her artistry and innovative approach influenced subsequent generations of dancers and choreographers, leaving a lasting legacy as a performer who pushed boundaries.

Mauri was a favorite amongst artists of the period and was frequently portrayed, including several times on stage by Edgar Degas in Fin d'arabesque (1877), Danseuse sur la scène (1878), and Ballet vu d'une loge de l'Opéra (1885). She was also featured in a famous portrait by Édouard Manet titled Portrait of Rosita Mauri (1877/9), also known as Jeune femme en rose. Other portrayals include paintings by Auguste Renoir, Léon Bonnat, Léon Comerre, Anders Zorn (a portrait in 1888 and an etching in 1889), and Ludovic-Napoléon Lepic, as well as sculpted depictions by Denys Puech, Laurent Marqueste, and Eusebi Arnau. The photographer Nadar also made portraits of her throughout her career.