Using three prints by the artists Daumier, Whistler, and Manet this thesis will explore the idea of the gaze. As feminist art historians have argued, women were seldom represented as active subjects, but rather as objects to be viewed by the male gaze. The male gaze is a concept developed by feminist theorists to account for the position of women as objects to be looked at, while men do the looking. The active role in vision is reserved for the masculine subject; the passive role, the feminine, is objectified for male pleasure. When society understands these power relations within the act of gazing as natural, the sexualizing of women through the male gaze becomes a social norm. When the male gaze becomes a social norm, it not only determines how men look at women but also ensures that women themselves look at each other through this gendered gaze: women, that is, objectify themselves and other women the same way men do. This thesis suggests, however, replacing the notion of a singular male gaze with the notion of multiple potential gazes, multiple potential viewing positions for the spectator of the artworks, as proposed by artists working in France in the mid-nineteenth century.