O circo (1944) by DjaniraMuseu Nacional de Belas Artes
Djanira da Motta e Silva, known simply as Djanira, was born in 1914 in the Brazilian city of Avaré. She trained as a painter, illustrator, and engraver, and became known across the country for her everyday scenes inspired by the folk art of South America.
This 1944 painting, The Circus, captures the riotous scenes of a night under the big top. Circuses were very popular at the time, but they were also a favourite scene of modern painters, including Henri de Toulouse-Lautrec, Georges Seurat, and Pablo Picasso.
Our viewpoint, high above the seats of the audience, places us amongst the performers. We see them in their bright costumes, attempting death-defying leaps on the flying trapeze…
…below them, the ringmaster in his golden coat can be seen clutching onto a ladder balanced on a table…
…all around him, acrobats tumble and flip, a trained dog rolls a ball, and dancers wait, ready to rush onto stage
The painting seems to nearly capture the noise of the scene. Djanira emphasises the drama with a detailed depiction of the uniformed band: trumpets toot, sousaphones bellow, cymbals crash, and a squeezebox sets the melody.
If we look past the performers, we find the faces of many in the audience are blank. Who are they? And, more importantly, are they enjoying the show?
The action in the ring is captivating, but Djanira pays attention to the people behind the scenes. A couple seems to arrive late, while others may be leaving. All the time, the aisles are filled with snack sellers carrying trays of treats.
This painting also marks a turning point in Djanira's style. Many earlier works had used geometric layouts with dark, sullen palettes of browns and greys, but by the late 1940s her works became freer in composition and in colour.
This picture seems to combine the two different approaches. The swirling curve of the circus ring is cut across by the narrow tent poles and frantic action, while the dark red tent is speckled with bright clothes and lights.
Taking a step back, it's hard to see how this all fits together. Are we seeing a real scene, or is this merely a figment of our imagination?
