By Timothy Hilton
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Additional info for Picasso (The World of Art)
Be: she The rose or circus period 36 is described too vaguely in some histories, which give the impression that it lasted until Cubism. On the contrary, it extended only from the latter part of 1904 to the summer of 1905, when Picasso went to Holland. There was not more than six or nine months' work in this particular style, and were it not that the rose and the circus characters lead directly to the Saltimbanques, a major picture, we should probably consider this no more than a minor interlude in Picasso's career.
Made friends with the With their families they which they performed under the warm glare of paraffin lamps. ' The circus, and of course the Cirque Medrano itself, was already an established subject in French art, painted main times by Degas, Toulouse-Lautrec, Seurat and others. The new subject matter in Picasso's art was thus by no means an artistic invention. It was, rather, brilliantly seized on during this pause in Picasso's career. However main tumblers there in reality were in Montmartre, they are made unreal in the pictures.
This puzzling and unpleasant drawing seems to recede from the classic to the Oriental to the bestial. It is sour and negative. If its iconography has a meaning, it can only be, surely, in the bitter assertion that the bestial is closer to splendour than we think. At the least, the drawing makes plain that Picasso's temperament was not content with the sentimentality ot, say. Two Acrobats with a Dog. Such facility in the pursuit of sentimentality was to be shunned. A sense ot seriousness, and ot artistic effort, is transmitted by the Young Acrobat on a Ball.