La parada del circo
Circus Sideshow (Parade de cirque)
Sobre el cuadro
Parade de cirque (English: Circus Sideshow) is an 1887–88 Neo-Impressionist painting by Georges Seurat. It was first exhibited at the 1888 Salon de la Société des Artistes Indépendants (titled Parade de cirque, cat. no. 614) in Paris, where it became one of Seurat's least admired works. Parade de cirque represents the sideshow (or parade) of the Circus Corvi at place de la Nation, and was his first depiction of a nocturnal scene, and first painting of popular entertainment. Seurat worked on the theme for nearly six years before completing the final painting.
Art historian Alfred H. Barr Jr. described Parade de cirque as one of Seurat's most important paintings, its 'formality' and 'symmetry' as highly innovative, and placed it as "the most geometric in design as well as the most mysterious in sentiment" of Seurat's major canvases.
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Circus Sideshow influenced the Fauves, Cubists, Futurists and Orphists. It is located at the Metropolitan Museum of Art in New York (Bequest of Stephen C. Clark, 1960, accession number: 61.101.17, Gallery 826).
Ficha
Mientras tanto, en la vida de Georges Seurat
La vida entera1880s
Charles Henry's lectures at the Sorbonne
In the 1880s Seurat hears lectures by the mathematician Charles Henry at the Sorbonne on the emotional properties and symbolic meaning of lines and colour; there remains controversy over how far he adopted Henry's ideas.
1880s
The colour theorists: Chevreul, Rood, Blanc
Seurat finds the idea of separate strokes of pure colour that blend optically in the viewer's eye in “Modern Chromatics” (1879) by the American physicist Ogden Rood and in the chemist Michel Eugène Chevreul's work on the law of simultaneous contrast of colours; according to his friends, his bedside book is Charles Blanc's “Grammaire des arts du dessin” (1867).
1886
Nine works, the public's mockery and the critics' defence
At the last Impressionist exhibition Seurat presents nine works; the critics R. Marx and Félix Fénéon write favourable reviews, but the public ridicules the “pictures painted in dots”, and the Swiss critic Émile Hennequin finds them grey and poor in light. The Impressionists are sceptical: when Pissarro says that “La Grande Jatte” is very interesting, Degas replies that he would have noticed, but it is so large; Seurat himself blames the hall for being too dark and cramped to give the picture the necessary distance.
15 May – 15 June 1886
“La Grande Jatte” is first shown at the eighth Impressionist exhibition
“A Sunday Afternoon on the Island of La Grande Jatte” is shown to the public for the first time at the eighth Impressionist exhibition, held from 15 May to 15 June 1886. The painting will initiate Neo-Impressionism and alter the direction of modern art.
