But first, a peacock mosaic column, one of the two that served as a room divider in Tiffany’s Manhattan showrooms, Madison Avenue & 47th St., as shown here in a picture taken ca. 1913.
Fresh from an inspiring performance of ”Sunday in park with George” at the Hudson Theatre the previous weekend, a ”Sunday in The Met with George” to see Seurat’s Circus Sideshow, one of only six major figure paintings he created, was the next best thing. With it, an array of works by other artists – Seurat’s contemporaries – the exhibition aimed to explore their fascination with the Sideshow as a subject.
Circus Sideshow (Parade de cirque) represents an ensemble of circus players lined up on a narrow stage outside a tent performing sample entertainment to entice customers to their show.
Georges de Feure. The Corvi Circus (Le Cirque Corvi), ca. 1893
Gouache, watercolour, pencil on paper
This highly finished gouache, by an artist who went on to champion Art Nouveau design, relies on simplified drawing and bold colour to give an edge to his description of performers preparing backstage at the Corvi Circus. His palette – the ambient blue of the evening set off by strident pinks, violets and yellows – uses ostensibly festive hues to spotlight the vagrant life of the saltimbanques and the existential paradoxes of the performer.
Jules Chéret. Folies-Bergère: Corvi Circus, 1881. Colour lithograph
Georges Seurat. Two Clowns (Une Parade), ca. 1886-88. Conté crayon on paper
Georges Seurat. Study for ”Models”, 1886 – 87. Conté crayon on paper
Georges Seurat. Models (Poseuses), small version, 1887 – 88. Oil on canvas
This gemlike canvas is a small-scale version of the imposing, life-size Models (The Barnes Foundation, Philadelphia) that Seurat exhibited alongside Circus Sideshow at the Salon des Indépendants in 1888. Two years after he asserted his authority as an innovative painter of modern life, with a plein-air subject in full sunlight, Seurat returned to the public stage with figure compositions that succeeded to demonstrate the versatility of his approach. He set forth a daytime, interior studio scene – graced by three nudes who channel classicizing prototypes, while skirting his earlier triumph – and a contrasting nighttime, outdoor scene that reflects a more abstract sensibility, broaching a symbolist aesthetic. Linked by formal characteristics, such as frontality and symmetry, the opposites did not attract equal attention. Models stole the limelight.
Louis Anquetin. Avenue de Clichy (Street – Five O’ Clock in the Evening), 1887
Oil on paper, laid down on canvas
Anquetin’s view of a Paris boulevard at dusk – the blue and violet gloaming of the twilit street offset by the orange and yellow light of a butcher’s shop at left – is painted in his signature cloisonnist style, characterised by flat areas of colour outlined by emphatic contours. It was shown in the Salon des Indépendants of 1888, in direct competition with Seurat’s Circus Sideshow. Quick to recognise the rival solution to painting a nocturne of urban bustle under artificial lighting, one critic saw Anquetin’s canvas as ”designed to trouble those practicing pointillism.”
Georges Seurat. Circus Sideshow (Parade de cirque), 1887 – 88. Oil on canvas
From the time it debuted at the Salon des Indépendants in 1888, Circus Sideshow has intrigued and confounded its viewers. Indeed, Seurat’s closest associates were seemingly dumbstruck, largely confining their spare remarks to its novelty as a ”nocturnal effect”. (Of course, his detractors could not see past the ”multicoloured and mathematically contrasted lentils.”) The laconic artist never mentioned the picture, nor did he exhibit it again. Recent technical findings reveal that in adding the painted border, Seurat effaced his signature at lower right.
Circus Sideshow was sold from the artist’s estate in 1900. It left Paris for New York in 1929, claiming a ”place of honour” at the Museum of Modern Art’s inaugural show. Future Met donor, Stephen C. Clark acquired it three years later.
March 19th, 2017