Pierrot ©

Framed Prints

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$108.75
Get this by Dec 24

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Dawn M. Becker

Milwaukee, United States

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Sizing Information

Small 10.7" x 8.0"
Medium 16.1" x 12.0"
Large 21.5" x 16.0"
Note: Image size. Matboard and frame increase size of final product

Features

  • Custom-made box or flat frame styles
  • High-quality timber frame finishes to suit your decor
  • Premium Perspex - clearer and lighter than glass
  • Exhibition quality box or flat frame styles

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Artist's Description

25 faves 4-1-2011
704 views 4-24-2012

Nikon P100

Featured in “Explore” 4-24-2012

Featured in “Dolls and Teddy Bears” 5-15-2011

4-8-2011

Featured “Still Life of the Week” The World As We See It, or as we missed it 3-29-2011

Editor’s Choice

Featured in “ART UNIVERSE” 3-28-2011

Permanent Feature Page

Featured in “Still Life Photography” 3-28-2011

Featured in “Cee’s Fun Artsy Friends” 3-27-2011

Featured in “Quality Layered Work + HDR” 3-27-2011

Featured in “The World As We See It, or as we missed it” 3-25-2011

Pierrots always have been a favorite of mine. They are magical to me and I drift into a world of fantasy and magic!!!

Pierrot (French pronunciation: [pjεʁo]) is a stock character of pantomime and Commedia dell’Arte whose origins are in the late 17th-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a hypocorism of Pierre (Peter), via the suffix -ot. His character in postmodern popular culture—in poetry, fiction, the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce’s cap. But most frequently, since his reincarnation under Jean-Gaspard Deburau, he wears neither collar nor hat, only a black skullcap. The defining characteristic of Pierrot is his naïveté: he is seen as a fool, always the butt of pranks, yet nonetheless trusting.
It was a generally buffoonish Pierrot that held the European stage for the first two centuries of his history. And yet early signs of a respectful, even sympathetic attitude toward the character appeared in the plays of Jean-François Regnard and in the paintings of Antoine Watteau, an attitude that would deepen in the 19th century, after the Romantics claimed the figure as their own. For Jules Janin and Théophile Gautier, Pierrot was not a fool but an avatar of the post-Revolutionary People, struggling, sometimes tragically, to secure a place in the bourgeois world. And subsequent artistic/cultural movements found him equally amenable to their cause: the Decadents turned him, like themselves, into a disillusioned disciple of Schopenhauer, a foe of Woman and of callow idealism; the Symbolists saw him as a lonely fellow-sufferer, crucified upon the rood of soulful sensitivity, his only friend the distant moon; the Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line. In short, Pierrot became an alter-ego of the artist, specifically of the famously alienated artist of the 19th and early 20th centuries. His physical insularity; his poignant muteness, the legacy of the great mime Deburau; his white face and costume, suggesting not only innocence but the pallor of the dead; his eternal rejection by Columbine, coupled with his never-to-be vanquished unworldly naïveté—all conspired to lift him out of the circumscribed world of the Commedia dell’Arte and into the larger realm of myth. Much of that mythic quality still adheres to the “sad clown” of the postmodern era.

Framed Prints Tags

doll drama books pierrot clown porcelain

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doll drama books pierrot clown porcelain

Artwork Comments

  • Lissywitch
  • Dawn M. Becker
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  • Dawn M. Becker
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  • Dawn M. Becker
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  • Terrie Taylor
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  • JUSTART
  • Dawn M. Becker
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