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전경희(Kyung-Hee Chun) 현대미술사학회 2002 현대미술사연구 Vol.14 No.-
In 〈Le Cirgue〉 Seurat presents the interpretation of the mass society absorbed in mass entertainment and the position of the artist in that society. The arena of the circus is a place where the illusion consumed by the mass society is provided. The illusion is created by artists' expertise and highly delicate skills. Seurat caricatures the entire society absorbed in the illusion created by the female acrobat, Through the image of mass entertainment called circus, He hinted about the elements of division, existing in the unified facade of the mass society indulging in the same entertainment at the same time, by separating the classes of the crowd. The clown in the foreground is the self-portrait symbolizing the position of the artist as an interpreter of the mass society. He is the symbol of the self-alienated avant-garde artist who cooly examines the whole society at a distance. Seurat, unlike the Impressionists, didn't represent the experience of the mass culture as instant sensations. He tried to present the explanation of the social mechanism creating the illusion of the mass culture through a pictorial system based on the symbolist theories of expression-the theories of expressing emotions by the directions of lines and colors-of Humbert de Superville and Charles Henry. Seurat's objective and impersonal way of interpretation is expressed through abstract forms and the inhumane figures diagrammatized like machines. The distance between the viewer and the scene is presented even more clearly by the curtain, which serves as a double frame. It implies that the spectator looking at the painting is not looking directly at the scene but indirectly through the interpretation of the clown in the foreground. Besides, the frame of the picture painted in blue stresses the fact that the image Seurat presents is not the reality itself, but a creation of the artist. Such distancing clarifies that the world of circus he presented is not the reproduction of the reality which can be absorbed in,but a world of illusion.
전경희(Chun Kyung-Hee) 서양미술사학회 1995 서양미술사학회논문집 Vol.7 No.-
The studies about Seurat"s 「la Parade de Cirque」(l887-1888) have been centered on analysing how Charles Henry"s pseudo-scientific theory of expression is applied in the painting and interpreting its meaning according to the theory, deciding whether it is ‘dynamogene’ , or ‘inhibitrice’ . But in many cases they are misleading, assuming Seurat intended gayness or calmness. Henri Dorra assumed that Seurat’s intention in 「la Parade」 was expression of gayness but the result was that the gayness of the scene was suppressed by the hand of Seurat. W. Homer interpreted the expressive function of the painting as the expression of equilibrium and calmness, because he thought that the horizontal lines dominate the picture, complementary colors are in harmony, and that the amount of light colors is equalized with the amount of dark colors. Robert Herbert saw that dark colors dominate the picture so as to endow the painting sadness of feeling, but like Homer, he thought the dominating lines were horizontal. However when we re-examine 「la Parade」 carefully, we find that dominating direction in the painting is downward and dominating colors are dark blues and greens. Therefore, the expressive function of 「la Parade」 according to C. Henry"s theory is ‘inhibitory’. The fact shows that Seurat"s intention was not the expression of gayness or calmness, but the expression of sad, melancholic feeling. The sad, melancholic feeling in 「la Parade」 is related to the Symbolist poets" expression of melancholic world of circus - sad clowns and pierrots. The Symbolist poets identified themselves with sad pierrots, but Seurat identifies himself not with the circus musicians but with the spectator so that he keeps a distance from the scene. R. Herbert suggested an naturalistic interpretation based on the documents such as circus posters and photographs showing the realities of 19th century life. But the subjective deformation in 「la Parade」 transcends the naturalistic meaning to create unreal, dreamlike atmosphere. The melancholic feeling in 「la Parade」 can be related to Seurat"s critical attitude toward 19th certury bourgeois society which is suggested in the images of spectators. They show Seurat"s awareness about social classes and the alienated individual among the mass. The melancholic emotion finds its peak expression in the image of the lonely spectator in back profile. His image looks back C. D. Friedrich"s lonely individuals in back profile contained in one"s self. In 「la Parade」 Seurat created a symbolic image suggesting an individual"s melancholic inner landscape by endowing melancholic emotion, using the plastic language based on a symbolist theory of expression, to an ordinary genre scene from 19th century Paris bourgois society.