At the Circus 1897

Editor: This is "At the Circus," painted by Pierre Bonnard in 1897, using oil on canvas. It’s almost like a snapshot of movement, but with a tangible, almost gritty, texture. What catches your eye about it? Curator: For me, the captivating element lies in the work's exploration of the production and spectacle of entertainment. Look at the layering of paint, the deliberate application of impasto; it's not just depicting a circus scene, but drawing our attention to the labor of painting itself. What kind of social narratives are suggested when the spectacle blurs into pure labor of love? Editor: So, it’s less about the beautiful performance and more about what went into it, literally? How do you see that playing out in the actual image? Curator: Precisely! Notice how Bonnard reduces the figures in the crowd to abstract masses, contrasting them with the individualized performers. This challenges traditional hierarchies, bringing the means of production, both artistic and performative, to the forefront. Also, the use of oil paint, usually reserved for more high art subjects, adds value to everyday spectacles such as the circus. Would you say it democratizes representation, and celebrates popular culture as worthy subject matter? Editor: Definitely! The materiality elevates what might be seen as a fleeting moment of entertainment to something more lasting and significant. So it kind of brings together high and low culture, doesn’t it? Curator: Indeed. By examining Bonnard's meticulous methods and use of material, we gain a unique understanding of this interplay and how painting can elevate what we perceive as mundane. Editor: I’ve never thought about Impressionism in that way before, really considering the material reality behind the fleeting impression! Curator: Exactly. Seeing the labor in the art helps you to rethink the story behind the image itself!