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'''''The Acrobats''''' (or ''The Wounded Child'') is an oil on canvas painting by French artist [[Gustave Doré]], from 1874. It represents a family of acrobats, who work in a circus, struck by a tragedy: their male child, mortally wounded in the head, lies in the arms of his mother, after an accident during a tightrope walker's number. His father, seated and slightly in the background, watches the scene with deep sadness. The painting is held in the Roger-Quilliot Art Museum, in [[Clermont-Ferrand]].<ref>[https://www.pop.culture.gouv.fr/notice/joconde/M0121000325 The Acrobats, Ministère de la Culture (French)]</ref><ref>Marie-France Cussinet, "Bohémiennes et saltimbanques dans les musées d'Auvergne", in Pascale Auraix-Jonchière and Gérard Loubinoux (dir.), ''La Bohémienne, figure poétique de l'errance aux xviiie et xixe siècles'', Clermont-Ferrand, Presses universitaires Blaise-Pascal, 2005, p. 315 (French)</ref>
'''''The Acrobats''''' (or ''The Wounded Child'') is an oil-on-canvas painting created in 1874 by French artist [[Gustave Doré]]. It represents a family of [[Acrobatics|acrobats]], who work in a circus, struck by a tragedy: their son, mortally wounded in the head, lies in the arms of his mother after an accident during a [[tightrope walking]] performance.


==Description==
==Description==
The light in the painting is centered on the child and his mother. Conversely, the background of the painting, where the tragedy occurred and where the curious are massed, is much darker. The painting can be divided into two parts, by drawing an imaginary diagonal going from the upper right corner to the lower left corner; moreover, the position of the child follows this line, and it is reinforced by the pallor of his white jerkin (the folds of the garment show that it is not his skin).
The light in the painting is centered on the child and his mother; the background of the painting, where onlookers observe the scene, is much darker. The painting can be divided into two parts, by drawing an imaginary diagonal going from the upper right corner to the lower left corner. The position of the child follows this line, and it is reinforced by the pallor of his white [[jerkin]] (the folds of the garment show that it is not his skin).


The bright colors of the circus clothing contrast precisely with the whiteness of the injured child's clothing, yet lit up as if he was beaming with his mother holding his. The child and the mother are characters in a central position, and therefore are seen in full light. The mother, dressed in a long blue coat and with her head crowned, is possibly a gypsy, with her matte skin and very brown, curly hair, and / or a fortune-teller, judging by the cards that are spread in front of her. She holds her dying son in her arms, against her body. Her eyes are closed, and a tear runs down her face as she kisses him. She is seated in a drum and some musical instruments are seen at the right.<ref>[https://historia-arte.com/obras/los-saltimbanquis Los saltimbanquis Tragedia en el circo, Historia-arte.com (Spanish)]</ref>
The bright colors of the circus clothing contrast with the whiteness of the injured child's clothing, yet lit up as if he was beaming with his mother holding his. The child and the mother are characters in a central position, and therefore are seen in full light. The mother is dressed in a [[Bohemianism|Bohemian]] fashion with long, blue frabric, a golden crown, and ballet shoes.<ref name="Cussinet">Cussinet, Marie-France. "Bohémiennes et saltimbanques dans les musées d'Auvergne", in Pascale Auraix-Jonchière and Gérard Loubinoux (dir.), La Bohémienne, figure poétique de l'errance aux xviiie et xixe siècles, Clermont-Ferrand, Presses universitaires Blaise-Pascal, 2005, p. 315 (French)</ref> She holds her dying son in her arms, against her body. Her eyes are closed, and a tear runs down her face as she kisses him. She is seated on a drum and some musical instruments are seen at the right.<ref>[https://historia-arte.com/obras/los-saltimbanquis Los saltimbanquis Tragedia en el circo, Historia-arte.com (Spanish)]</ref>


According to Doré, the child is dying from his injuries.<ref name="Appleton">Appleton’s Journal, Issues 276-301, D.
This representation recalls a Christian iconographic theme, the Virgin Mary mourning the death of Christ - her son - before the burial, therefore resembling a [[pietà]].{{cn|date=July 2023}}
Appleton and Company, New York, 1874, p. 81 https://books.google.com/books?id=VH3QAAAAMAAJ&lpg=PA81&dq</ref> The blood from the child's head wound is soaking into a white cloth his mother is pressing to it.


⚫
On the left, the seated and bent father watches the scene. His posture and affect show deep sadness with tears in his eyes. He is still dressed in his all-red clown costume complete with stage makeup and a red hat. He is holding circus slippers.
The child is dressed in a tight-fitting white garment and wears red panties that emphasize his head wound, surrounded by a heavily bloodstained cloth. His skin, very pale, seems to indicate an approaching death.{{cn|date=July 2023}}


⚫
In the background in the dark, to the left of the father on the edge of the frame, a crowd of acrobats and onlookers observe the group of the mother and father with the dying son.
⚫
On the left, the seated and bent father watches the scene. He seems helpless, with his arms dangling. He show deep sadness, with tears in his eyes. He too is dressed in an all-red circus costume. His hair (or hat) is also colored red. He is holding circus slippers. The number is truly over because of the dramatic circumstances.{{cn|date=July 2023}}


⚫
Three animals are also shown near the group: two dogs and an owl. Next to the father, there is a [[bulldog]], who is sitting next to him on his right, and who is also looking sadly to the child. Near the mother is a [[bichon]]. He is covered with a garment whose patterns are similar to those of his owner's dress, but with the blue, gold and silver colors reversed, in negative. The animal puts its left front paw on her and also looks towards the child. The two dogs seem to sympathize with the suffering of their masters and to share their emotion.<ref name="Ministry">[https://www.pop.culture.gouv.fr/notice/joconde/M0121000325 The Acrobats, Ministère de la Culture (French)]</ref>
⚫
In the background in the dark, to the left of the father on the edge of the frame, a crowd of acrobats and onlookers observe the group of the mother and father with the dying son.{{cn|date=July 2023}}


⚫
The only animal not observing the scene is the owl, who is placed and chained on the edge of the drum where the woman is seated. The owl, with his eyes wide open, gives the impression of looking in the direction of the viewers of the painting.<ref name="Ministry" />
⚫
Three animals are also shown near the group, two dogs and an owl. The father owns a bulldog, who is sitting next to him on his right, and who is also looking sadly to the child. The mother has a bichon. He is covered with a garment whose patterns are similar to those of his owner's dress, but with the blue, gold and silver colors reversed, in negative. The animal puts its left front paw on her and also looks towards the child. The two dogs seem to sympathize with the suffering of their masters and to share their emotion.<ref>[https://www.pop.culture.gouv.fr/notice/joconde/M0121000325 The Acrobats, Ministère de la Culture (French)]</ref>


==Symbolism==
⚫
The only animal not observing the scene is the strange presence of an owl, who is placed and chained on the edge of the drum where the woman is seated. The owl, with his eyes wide open, gives the impression of looking in the direction of the viewers of the painting. Traditionally, in certain French regions, the cry of the owl was believed to predict the imminent death of a family member. The paintings owl thus seems to announce the death of the child.<ref>[https://www.pop.culture.gouv.fr/notice/joconde/M0121000325 The Acrobats, Ministère de la Culture (French)]</ref>

The position of the father separated from the mother and child follows a motif of Christian paintings of the nativity scene which often depict Joseph as separate from the Virgin Mary and the infant Jesus.<ref name="Cussinet" /> The mother is dressed in blue, which is commonly associated with the Virgin Mary.<ref>Staudt, R. J. (2015, May 28). The Color blue: a May tribute to our lady. Catholic Exchange. https://catholicexchange.com/the-color-blue-a-may-tribute-to-our-lady/</ref> In an interview, Doré commented on the Christian symbolism of the painting, saying "...[''The Acrobats''] would have made a good contrast with ‘The Christian Martyrs,’ being in so entirely different a style."<ref name="Appleton" />


==Provenance==
==Provenance==
The painting was exhibited at the Clermont-Ferrand Museum, since 1937, before being transferred to the Roger-Quilliot Art Museum in the same city, in 1992. It is shown on the floor reserved for 19th century French art. In 2011, the painting was elected as the museum's favorite by its visitors.<ref>[https://france3-regions.francetvinfo.fr/auvergne-rhone-alpes/2014/02/24/du-musee-d-orsay-au-musee-d-ottawa-pour-un-tableau-clermontois-421297.html Du Musée d'Orsay au Musée d'Ottawa pour un tableau clermontois, Franceinfo (French)]</ref><ref>Marie-France Cussinet, "Bohémiennes et saltimbanques dans les musées d'Auvergne", in Pascale Auraix-Jonchière and Gérard Loubinoux (dir.), ''La Bohémienne, figure poétique de l'errance aux xviiie et xixe siècles'', Clermont-Ferrand, Presses universitaires Blaise-Pascal, 2005, p. 315 (French)</ref>
The painting was purchased by the city of Clermont-Ferrand in 1937. It is currently displayed in the city's [https://fr.wikipedia.org/wiki/Mus%C3%A9e_d%27Art_Roger-Quilliot Roger-Quilliot Art Museum] on the floor reserved for 19th century French art.<ref name="Ministry" /> In 2011, the painting was elected as the museum's favorite by its visitors.<ref>[https://france3-regions.francetvinfo.fr/auvergne-rhone-alpes/2014/02/24/du-musee-d-orsay-au-musee-d-ottawa-pour-un-tableau-clermontois-421297.html Du Musée d'Orsay au Musée d'Ottawa pour un tableau clermontois, Franceinfo (French)]</ref>


==References==
==References==
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[[Category:Dogs in art]]
[[Category:Dogs in art]]
[[Category:Owls in art]]
[[Category:Owls in art]]
[[Category:Musical instruments in art]]
[[Category:Playing cards in art]]
[[Category:Paintings in Auvergne-Rhône-Alpes]]
[[Category:Works about entertainers]]
[[Category:Works about child death]]
[[Category:Acrobats]]
[[Category:Oil on canvas paintings]]

Revision as of 17:07, 13 July 2024

The Acrobats
ArtistGustave Doré
Year1874
MediumOil on canvas
Dimensions224 cm × 184 cm (88 in × 72 in)
LocationRoger-Quilliot Art Museum, Clermont-Ferrand

The Acrobats (or The Wounded Child) is an oil-on-canvas painting created in 1874 by French artist Gustave Doré. It represents a family of acrobats, who work in a circus, struck by a tragedy: their son, mortally wounded in the head, lies in the arms of his mother after an accident during a tightrope walking performance.

Description

The light in the painting is centered on the child and his mother; the background of the painting, where onlookers observe the scene, is much darker. The painting can be divided into two parts, by drawing an imaginary diagonal going from the upper right corner to the lower left corner. The position of the child follows this line, and it is reinforced by the pallor of his white jerkin (the folds of the garment show that it is not his skin).

The bright colors of the circus clothing contrast with the whiteness of the injured child's clothing, yet lit up as if he was beaming with his mother holding his. The child and the mother are characters in a central position, and therefore are seen in full light. The mother is dressed in a Bohemian fashion with long, blue frabric, a golden crown, and ballet shoes.[1] She holds her dying son in her arms, against her body. Her eyes are closed, and a tear runs down her face as she kisses him. She is seated on a drum and some musical instruments are seen at the right.[2]

According to Doré, the child is dying from his injuries.[3] The blood from the child's head wound is soaking into a white cloth his mother is pressing to it.

On the left, the seated and bent father watches the scene. His posture and affect show deep sadness with tears in his eyes. He is still dressed in his all-red clown costume complete with stage makeup and a red hat. He is holding circus slippers.

In the background in the dark, to the left of the father on the edge of the frame, a crowd of acrobats and onlookers observe the group of the mother and father with the dying son.

Three animals are also shown near the group: two dogs and an owl. Next to the father, there is a bulldog, who is sitting next to him on his right, and who is also looking sadly to the child. Near the mother is a bichon. He is covered with a garment whose patterns are similar to those of his owner's dress, but with the blue, gold and silver colors reversed, in negative. The animal puts its left front paw on her and also looks towards the child. The two dogs seem to sympathize with the suffering of their masters and to share their emotion.[4]

The only animal not observing the scene is the owl, who is placed and chained on the edge of the drum where the woman is seated. The owl, with his eyes wide open, gives the impression of looking in the direction of the viewers of the painting.[4]

Symbolism

The position of the father separated from the mother and child follows a motif of Christian paintings of the nativity scene which often depict Joseph as separate from the Virgin Mary and the infant Jesus.[1] The mother is dressed in blue, which is commonly associated with the Virgin Mary.[5] In an interview, Doré commented on the Christian symbolism of the painting, saying "...[The Acrobats] would have made a good contrast with ‘The Christian Martyrs,’ being in so entirely different a style."[3]

Provenance

The painting was purchased by the city of Clermont-Ferrand in 1937. It is currently displayed in the city's Roger-Quilliot Art Museum on the floor reserved for 19th century French art.[4] In 2011, the painting was elected as the museum's favorite by its visitors.[6]

References

  1. ^ a b Cussinet, Marie-France. "Bohémiennes et saltimbanques dans les musées d'Auvergne", in Pascale Auraix-Jonchière and Gérard Loubinoux (dir.), La Bohémienne, figure poétique de l'errance aux xviiie et xixe siècles, Clermont-Ferrand, Presses universitaires Blaise-Pascal, 2005, p. 315 (French)
  2. ^ Los saltimbanquis Tragedia en el circo, Historia-arte.com (Spanish)
  3. ^ a b Appleton’s Journal, Issues 276-301, D. Appleton and Company, New York, 1874, p. 81 https://books.google.com/books?id=VH3QAAAAMAAJ&lpg=PA81&dq
  4. ^ a b c The Acrobats, Ministère de la Culture (French)
  5. ^ Staudt, R. J. (2015, May 28). The Color blue: a May tribute to our lady. Catholic Exchange. https://catholicexchange.com/the-color-blue-a-may-tribute-to-our-lady/
  6. ^ Du Musée d'Orsay au Musée d'Ottawa pour un tableau clermontois, Franceinfo (French)
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