Clowns

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.

Georges Seurat, Circus Sideshow, | MMA 61.101.17

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.

Unidentified, Portrait of Georges Seurat, 1888

Public Domain

Benjamin Pollock, Characters, from Jack and the Giant Killer, c.1880, Lithograph | MMA 52.541.1(7)

Charles DeForest Fredricks, The Clown,  1860

Albumen silver print | MMA 2014.210

Mesoamerica Maya, Costumed Figure, 7th–8th century, MMA 1979.206.953

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.

Johann Joachim Kändler, Harlequin with jug, ca. 1740, German

Meissen Manufactory | MMA 1974.356.355

Harlequin, the most recognizable character from the commedia dell’arte, is known for his colorful costume. In the 18th century, actors and porcelain figures portrayed him wearing a jacket and trousers with bright, diamond-shaped patterns. Originally, his costume featured irregular, colorful patches symbolizing poverty, which later evolved into the iconic lozenge design. Meissen porcelain Harlequins often varied in color, with different palettes for the jacket and trousers, and sometimes contrasting colors or patterns on each side of the costume.

On stage, Harlequin wore a half mask as part of his costume, but Meissen varied his portrayal. Some figures had full masks, half masks, or just theatrical makeup with exaggerated features. Harlequin typically wore a hat and carried a slapstick, though in this depiction, he holds his hat and a lidded jug instead of the slapstick.