The truth is that many artists have been attracted to painting the world of the circus. From Rouault, authentic clown portraitist, to Edward Hopper, painter of solitude. And precisely this theme emerged at the end of the 19th century with the group of Post-Impressionist artists. Don't forget thatCezannepainted Harlequin orSeurathis famous work The Circus. And obviously it was a topic that also interested Toulouse Lautrec, the post-impressionist painter who perhaps painted more shows of all kinds.
In the circus Fernando, la Ecuyere
he painted the shows, but above all he portrayed many of his protagonists, among them also those of the circus as in his work the Clown Cha U Kao at the Moulin Rouge. However, the work that we present here by Amazona in the Fernando Circus is well before that portrait and shows us a work in which the style of Toulouse Lautrec is not yet perfectly defined.
A painting she painted in 1888 and is currently on display at theArt Institute of Chicagoin the United States. And with it he inaugurated a series precisely dedicated to the circus environment.
As we said, it is a work from a time whenHenri Toulouse Lautrec, who was 24 years old at the time, has not yet produced his masterpieces and has not conformedfully his characteristic style. Perhaps that is why it is so interesting to study it to see the evolution of the artist.
We see that he uses several essential elements to build the scene. In the first place, opt for a high point of view, close to the characters, but high. On the other hand, it seeks to capture the movement, not only that, but also the skill, mainly of the horse and the rider. And for this he resorts to agile silhouettes that undoubtedly give the painting a lot of dynamism.
Some silhouettes in which curved lines predominate, and it is that the silhouettes and the undulating curves will become one of the style marks of Toulouse Lautre, in his paintings and especially in his many posters
And on the other hand, we must also review the way of applying the color. He does it in a very peculiar way, as he applies it zonally and spreads it out, thus creating fairly flat and even color spaces.
Overall, what we see is that he intends to paint the movement, something that relates him to his adoredDegas. Although, Toulouse Lautrec not only wants to capture that movement, but also seeks to give it absolute prominence, because in reality what he is presenting us is the interaction between the rider, the horse, the ringmaster and even the public attending the show.