Contrary to what the composition of James Tissot’s The Circus Lover might suggest, the real subjects of this painting are the female spectators in the foreground, not the trapeze dandy—a member of the Parisian aristocracy taking part in an amateur circus—in the upper center of the picture. The work is one of 18 large paintings made by Tissot in a series called Women of Paris, which depicts women of various social classes as they might have been encountered around town: taking in the circus, at lunch, on the streets of the city. Tissot is recognized today for his meticulous documentation of Parisian fashion; as you can see in the Impressionism, Fashion, and Modernity exhibition, Tissot would often paint different models in the same dress, so enamored was he with contemporary fashion. In the same vein, The Circus Lover is not so much about the circus as it is about the women watching it and what they're wearing.
Two women are seated in the foreground of this amateur circus, forming a gorgeous counterpoint to each other. One faces us with a slightly haughty expression; the other has her back to us. One woman wears a light pink dress, the other a bright red. One fan, cream-colored, is closed and cocked over a shoulder; the other is black and spread across the woman’s chest. It is almost as if Tissot had to represent two women who would serve as the second half of the other; in this way the artist could represent the back and the front of dresses, hats, and fans, always with lavish details.
What Tissot has mainly captured in The Circus Lover, though, is the newfound and hard-won liberty of women in Paris in the late 19th century. While the audience is a mix of men and women—segregated though they may be—these two women, and many others, appear to be unaccompanied. Their clothing suggests utter respectability, but the fact that they are out for an evening unescorted—and even pointedly ignoring the ardent gentleman leaning into their box—showcases the extent to which la Parisienne was becoming a force in French culture. Fashionable, bold, maybe even slightly superior, this new category of women was a critical step in redefining femininity for the modern age. Send in the clowns!
James Tissot. The Circus Lover from the series Women of Paris, 1885. Museum of Fine Arts, Boston, Juliana Cheney Edwards Collection, 58.45.
12 hours 42 min ago The Art Institute of Chicago Fullerton Hall
Free to Illinois residents or with museum admission
Brazilian artist and scholar Andreas Valentin recalls his time in New York City with artist Hélio Oiticica and screens a series of short films the two produced in collaboration.
*Museum admission is free for Illinois residents every Thursday, 5:00–8:00—including during this event.
13 hours 7 min ago The Art Institute of Chicago NOW ON VIEW—Rodney McMillian: a great society
a great society represents artist Rodney McMillian's work in video over the last decade. Grappling with the complexities of class, race, and place in America, McMillian employs elements of performance, public speaking, oral history—and his interest in the science fiction genre—to expose the social and psychological consequences of economic inequality, endemic racism, and the failed promise of freedom and prosperity for all of its citizens. While McMillian's work engages the often stark realities of history and contemporary culture, it is motivated by the potential for alternative realities and future transformation.
Closing March 26—http://bit.ly/2l5Ja6e
17 hours 50 min ago The Art Institute of Chicago CLOSING SOON—John Massey: Cartón de Venezuela
One of Chicago’s great design stories emerged from the Container Corporation of America (CCA) in the middle of the 20th century. Upon his appointment in 1964 as the CCA's head of design, Chicagoan John Massey formed a research arm, the Center for Advanced Research in Design (CARD), that enabled great creativity and innovation within a corporate structure.
This exhibition features a set of posters by Massey for the CCA’s subsidiary Cartón de Venezuela. Each poster represents a different month of the year, with strong, clean lines and bold colors reflecting one of Massey’s primary influences, the Swiss school of design.
Closing March 5—http://bit.ly/2lYlz6I