Seurat endeavors to reconcile the rigor of divisionism and movement by painting the number of the horsewoman of the Fernando circus (future Medrano circus). The depth can be achieved by exploring the character in the foreground, the superimposed steps, and the aperture on the right side of the canvas. The alternation of red and yellow lines emphasizes this.
Greetings, ladies and gentlemen, and welcome to Cirque Fernando! The clown opens the ring wide for us, and the spectacle is performed with open curtains. The red spikes of his whitened cranium are oriented toward Monsieur Loyal, who is dressed in a tuxedo. He crackles his whip, which zigzags across the dunes in a manner reminiscent of an arm of the Seine. A white horse, with its hooves in the air and a passenger on its back, is accompanied by him as it gallops. The horse is outlined in blue. Standing with a smile and on tiptoes. Everything returns to heaven with her: the extension of her arms in a semicircle, the movement of her skirt, and the collar of her tunic.
The red and white stands are traversed by the gilded silhouette. Cata-clop, cata-clop. The race lifts his hair, and the tail of his tunic drapes like a banner. Immediately behind the horse, a clown appears to be fluttering backwards, as if it has been propelled. At the reception, there is a companion who is wearing white mittens. The spectators are captivated. The audience in the front rows is also quite distinguished, with satin skirt suits, ultra-fitted corsets, wide-brimmed hats adorned with butterflies, Gigot sleeves, and delighted expressions.
As you ascend the aisles, the fashion becomes more straightforward, and the collars and codes become more relaxed. Bowlers, panamas, and caps are substituted for top crowns. Certain individuals engage in conversation. Heads are affixed to the balustrade in that location. In order to observe something, it is necessary to advance. At the same height, the orchestra performs above the artists' entrance, which is a monumental entryway. We pass a conductor and violins, who is leaning toward the ring with his baton in the air. Is he anticipating the rider's descent? His gesture will result in the bows' hair dying out, much like the horse's race.
He pursued entertainment subsequent to Chahut and Parade (1890). The Fernando spectacle is an infinite subject. Degas depicts Miss Lala on the trapeze, while Renoir illustrates young jugglers who are solicited by the audience to select citrus. The charging horsewoman is located in Lautrec. This time, she is depicted as an amazon, with her purple quadriceps on the hindquarters of the nag prominently displayed. Seurat depicts her aloft, suspended by thousands of points, with her limbs in the air.
It is the positivist era that carries the pointillist, which seeks to elucidate everything through experience. His readings are strictly scientific, devoid of any fictional elements: The law of the simultaneous contrast of colors. He rigorously enforces the optical laws. Our eye is his idol. How does his narrative unfold? Points, millions of points that interact in a manner similar to proto-pixels for our vision, recomposing tones, shapes, and moods.
This clarification is irritating. At the Impressionist exhibition of 1886, Caillebotte, Monet, and Sisley declined to be exhibited in close proximity to A Sunday Afternoon on the Island of La Grande Jatte. These instinctive individuals are excessively meticulous and scientific. Pissarro, an uncommon advocate, will attempt to implement it for an extended period; however, the argument is lengthy and fails to generate interest. Seurat, on the other hand, will persist throughout his brief existence. Within the next few months, he will succumb to infectious angina at the age of 31. His final painting, The Circus, will serve as his aesthetic testament.
The Circus is under construction and remains a merry-go-round. The acrobat's back pirouette appears to emerge from nowhere, and the clown's left curtain he draws does not exist. Nevertheless, a preparatory sketch indicated the existence of a substantial seat... However, what significance do these fragments of reality hold, albeit at a later date? No matter what these millimeter measurements may indicate, Seurat is not particularly scientific. It is sufficient to observe his blue steed ascending into the air.
The races photographed to the millisecond by Muybridge in 1887 have just proven that the legs of the race should come together at this instant.
Floating between two realities? Upon closer examination, reality is consistently disrupted. The perspective is flattened by the deformed stands, the futuristic headdress of the jester is unattainable, and the acrobat's pirouette is shaped like origami. It is uncertain whether the initial chrono-photographed gymnasts will execute a somersault of this nature. If Seurat's color is in the ultra-sharp chromo-luminarism, his drawing is in the ultra-suspended poetic-kinetic.
The vaulters at Fernando engage in a game of gravity. Typically, this activity is fraught with peril. The audience's jaws are clenched as a result of the possibility that the Icarus on the trapeze may fail, and the rider may break under the gallop. There is a distinction with Seurat. The performers detach themselves from the earth and soar on the track. The tunics are distended with an inner tranquility. Speed has dissipated amid the suspended points' mist... Ladies and gentlemen, we are currently in a state of weightlessness. Please undo your seat belts.
seen in France © vwart.com
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