Seurat鈥檚 Circus Sideshow
Taking as its focus one of The Met's most captivating masterpieces, this thematic exhibition will afford a unique context for appreciating the heritage and allure of Circus Sideshow (Parade de cirque), painted in 1887鈥88 by Georges Seurat (1859鈥1891). Anchored by a remarkable group of related works by Seurat that will fully illuminate the lineage of the motif in his inimitable cont茅 crayon drawings, the presentation will explore the fascination the sideshow subject held for other artists in the nineteenth century, ranging from the great caricaturist Honor茅 Daumier at mid-century to the young Pablo Picasso at the fin de si猫cle.
This rich visual narrative will unfold in a provocative display of more than 100 paintings, drawings, prints, period posters, and illustrated journals, supplemented by musical instruments and an array of documentary material intended to give a vivid sense of the seasonal fairs and traveling circuses of the day. Among the highlights will be Fernand Pelez's epic Grimaces and Misery鈥擳he Saltimbanques (Petit Palais, Paris), of exactly the same date as Seurat's magisterial work and, with its lifesize performers aligned in friezelike formation across a 20-foot stage, a match for his ambition.
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Taking as its focus one of The Met's most captivating masterpieces, this thematic exhibition will afford a unique context for appreciating the heritage and allure of Circus Sideshow (Parade de cirque), painted in 1887鈥88 by Georges Seurat (1859鈥1891). Anchored by a remarkable group of related works by Seurat that will fully illuminate the lineage of the motif in his inimitable cont茅 crayon drawings, the presentation will explore the fascination the sideshow subject held for other artists in the nineteenth century, ranging from the great caricaturist Honor茅 Daumier at mid-century to the young Pablo Picasso at the fin de si猫cle.
This rich visual narrative will unfold in a provocative display of more than 100 paintings, drawings, prints, period posters, and illustrated journals, supplemented by musical instruments and an array of documentary material intended to give a vivid sense of the seasonal fairs and traveling circuses of the day. Among the highlights will be Fernand Pelez's epic Grimaces and Misery鈥擳he Saltimbanques (Petit Palais, Paris), of exactly the same date as Seurat's magisterial work and, with its lifesize performers aligned in friezelike formation across a 20-foot stage, a match for his ambition.
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