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The Artist and the Clown

The Artist and the Clown

Whatever the reason behind the mysterious need for humans to create, the truth is that the world would undoubtedly be a poorer place without art.  

Every artist makes use of his imagination over the vast majority of his journey, whatever it may be. Some are lucky enough not to lose a creativity of infinite boundaries, characteristic of youth, the tender age when the imagination bears more fruit.  Along with technique, the artist puts this capacity into practice subsequently bringing about moments that common mortals may possibly identify with.  

Although the clown is also an artist (actor), we now examine his more ambiguous definition, bringing out his more aesthetic side, like the mask that hides emotions, so that we can establish a parallel between two objectively different, but similar worlds.  

We put forward this analogy between the artist and the clown because both must often transmit emotions in their work that are a far cry from those they are experiencing in their personal lives, and the frequency with which they must do this can lead them to make it systematic.  

We might even venture the suggestion that, although there is often recourse to real emotions, the work of an artist is fabricated and sometimes far from spontaneity, and yet it is no less genuine.  Here, again, we underline the importance of the technique which will uphold the work of the artist in settings where inspiration may be wanting.  Behind the mask, or the round, red nose, is often a vulnerable artist who sacrifices his feelings out of dedication to his work.  

Clowns, like harlequins, have been portrayed by a the widest variety of artists for many decades, namely, Jules Garnier, Picasso, Winsor McCay, Norman Rockwell, Chuck Oberstein, Donald Hamilton Fraser, Toulouse Lautrec, and the Portuguese, Almada Negreiros, Ricardo Paula among so many others.


Rita Fernandes