Baltimore Museum of Art features circus-themed Picasso work
Lauren Kimmich
Issue date: 3/24/09 Section: Arts & Society
This watercolor and pastel portrait from Picasso's "rose period" has religious undertones, as the family is posed in a manner similar to depictions of the holy family. It is known that Picasso used the faces of many of his friends in his paintings, but he also added his own creativity in the facial features of his subjects, as evidenced by this particular work. Picasso's Circus Family (1905) is from a scene at the Medrano circus in Paris, which many artists frequented. This serves as a "summation of the themes of the circus period," and is an "isolated self-absorbed comment on the human condition." This opaque watercolor sketch serves as a preliminary etching for Picasso's Family of Saltimbanque.
Otto Dix's take on the circus features a far more dramatic approach. The Disdainers of Death (1922) "casts a cold eye on humanity" and highlights the "seedy elements" of a post-war culture. The male and female figures in this etching are intimidating, with black eyes and soldier-like expressions. The stark contrast between Dix's perceptions of the circus and Picasso's more colorful, lively depictions are striking.
Max Pechstein's The Circus (1918) features a man holding a lady while simultaneously standing atop of two horses. It is very impressionistic in nature and features communicative movements of the body, bold color and strong diagonal strokes. This scene is brought to life in the form of oil on canvas, and it almost seems as if one is actually in the arena, caught up in the thrill and oddity of the circus.
A subsequent room features works by Fernand Leger, who was active in Paris during the rise of Cubism. Years earlier, artists such as Degas, Suerat, and Manet spent a great deal of time in the Montmartre district of Paris, where cabaret and circus were the primary forms of inspiration. Leger later moved to New York City, where he frequented Ringling Brothers shows. Leger's Circus (1950) exhibits a great deal of color compared to the earlier circus family renditions by Picasso. Similar to Pechstein his art focuses more on actual circus scenes than circus life. Leger's modernist depiction of the circus is far more exaggerated and fanciful than that of Picasso.
This fascinating exhibit functions as an exploration of history, culture and the fine arts. The admission charge of $6 is worth the cost, even to a college student. We are lucky to have this renowned art within our reach here in Baltimore, and it is highly advised that students take the time to explore this display, as it will be at the BMA for the remainder of the academic year. It is an interesting, informative and stimulating exhibit that cannot be missed. To find out about the many events, such as lectures, discussions and performances that coincide with this exhibit, call 443-573-1832 or email programs@artbma.org.
Otto Dix's take on the circus features a far more dramatic approach. The Disdainers of Death (1922) "casts a cold eye on humanity" and highlights the "seedy elements" of a post-war culture. The male and female figures in this etching are intimidating, with black eyes and soldier-like expressions. The stark contrast between Dix's perceptions of the circus and Picasso's more colorful, lively depictions are striking.
Max Pechstein's The Circus (1918) features a man holding a lady while simultaneously standing atop of two horses. It is very impressionistic in nature and features communicative movements of the body, bold color and strong diagonal strokes. This scene is brought to life in the form of oil on canvas, and it almost seems as if one is actually in the arena, caught up in the thrill and oddity of the circus.
A subsequent room features works by Fernand Leger, who was active in Paris during the rise of Cubism. Years earlier, artists such as Degas, Suerat, and Manet spent a great deal of time in the Montmartre district of Paris, where cabaret and circus were the primary forms of inspiration. Leger later moved to New York City, where he frequented Ringling Brothers shows. Leger's Circus (1950) exhibits a great deal of color compared to the earlier circus family renditions by Picasso. Similar to Pechstein his art focuses more on actual circus scenes than circus life. Leger's modernist depiction of the circus is far more exaggerated and fanciful than that of Picasso.
This fascinating exhibit functions as an exploration of history, culture and the fine arts. The admission charge of $6 is worth the cost, even to a college student. We are lucky to have this renowned art within our reach here in Baltimore, and it is highly advised that students take the time to explore this display, as it will be at the BMA for the remainder of the academic year. It is an interesting, informative and stimulating exhibit that cannot be missed. To find out about the many events, such as lectures, discussions and performances that coincide with this exhibit, call 443-573-1832 or email programs@artbma.org.
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