Clowns

Toulouse-Lautrec's exceptional talent for designing posters promoting renowned Parisian cabarets, like the iconic Moulin Rouge, resulted in great success. Inspired by this triumph, he ventured into crafting deluxe editions of prints showcasing the captivating performers of Montmartre, such as the charming clown and dancer, Cha-u-Kao. These lithographs were intended to captivate both enthusiastic fans and avid print collectors.

In contrast to Lautrec's other portrayals of Cha-u-Kao during her lively performances, this particular artwork captures her off stage, in a moment of serene repose. Revealing a candid pose and an almost weary expression, the lithograph allows us to catch a glimpse of the person behind the theatrical persona, inviting us to connect with the artist's intimate portrayal of this remarkable individual.

Honoré Daumier was a renowned French artist known for his satirical illustrations of clowns and street performers, capturing scenes of everyday life in 19th-century France. Through his art, he depicted the struggles and challenges faced by these performers, offering a glimpse into social inequalities of the time. Daumier's legacy as an insightful observer continues to inspire and influence art enthusiasts today.

Piercy Roberts, Mr. Grimaldi as "Joey" the Clown Etching  MMA 17.3.888-318

Napoleon in multicolored tights and a dagger in each hand, jumps through an opening cut in a portrait of King Louis XVIII. He is pursued from behind by the monarchs of Europe.

In 1888, at the Salon des Indépendants, Seurat impressively showcased the versatility of his artistic technique through two distinct paintings: Circus Sideshow, an enchanting nighttime scene illuminated by artificial light, and Models, a captivating indoor depiction bathed in daylight (presented at the Barnes Foundation, Philadelphia). Notably, this marked Seurat's inaugural venture into nocturnal painting and his first exploration of popular entertainment themes.

Circus Sideshow captures the lively parade or sideshow of the Circus Corvi, a captivating spectacle from the annual Gingerbread Fair hosted in the eastern part of Paris, near the place de la Nation, during the spring of 1887. These sideshows were strategically placed outside the circus tent and offered to passersby without charge, enticing them to purchase tickets for the main event. At the far right of the painting, we observe onlookers queuing on stairs that lead to the box office, eagerly awaiting their turn to witness the excitement within.

Fredricks was the proprietor of one of New York City's most prosperous photographic studios, situated at 585 and 587 Broadway. From 1854 onwards, and spanning over three decades, this establishment proudly bore the title "Photographic Temple of Art" on its painted sign. Fredricks excelled in the art of portraiture, skillfully crafting large-format and cartes-de-visite likenesses of prominent figures such as politicians, Civil War generals, celebrities, and even actors, including the infamous John Wilkes Booth, the assassin of Abraham Lincoln.

The photograph under discussion exudes a playful and light-hearted vibe, showcasing a costumed figure, possibly a character from the commedia dell'arte, striking a gallant pose. The composition of the image accentuates the theatrical essence of studio portraiture, adding a touch of drama to the subject's presentation.

Benjamin Pollock, Characters, from Jack and the Giant Killer, MMA 52.541.1(7)

This ceramic figurine portrays a standing male adorned in a long textured bodysuit and a distinctive conical headdress. His mouth appears open, suggesting he is caught in the midst of speech, while an ornament adorns the area between his eyes. The presence of incised lines on his cheeks hints at his maturity, indicating that he is an elder. The figurine dons a belt and loincloth over the bodysuit, accompanied by a ruffled collar and sizable round earflares, worn as ornaments in his earlobes (refer to 1994.35.591a, b for an example of earflare sets, and 1979.206.1047 for individuals wearing earflare assemblages). A significant element of his attire is the pectoral, featuring a prominent round component with a zoomorphic face emerging from the upper right corner.

Notably, the figurine clutches a rectangular shield in his left hand, displaying patterns that likely represent feathers. Unfortunately, the right arm of the figurine is damaged, broken at the elbow. Remarkably, this figurine doubles as a whistle; the mouthpiece of the whistle is visible from the sides and back, acting as a third support, allowing the figurine to stand upright.