Carnival season culminates today with Mardi Gras, a joyful celebration of fun and self-expression. Yet as we look at the news there isn't much to be joyful about, so let's mark the day with a painting that captures the aftermath of a carnival scene: "Scène de Carnaval" by Alexis Vollon (1889). This monumental piece debuted at the 1889 Salon in Paris, where it was awarded a second-class medal. The painting presents a scene from the Commedia dell'arte, featuring three iconic characters: Pierrot, Colombine, and Polichinelle.
In this aftermath of the party, we can see the remnants of the celebration scattered around the scene, a sign of revelry winding down. Pierrot, with his typical melancholy, declares his affection for Colombine, who appears flattered but possibly uninterested. Meanwhile, in the background, Harlequin, dressed in his trademark diamond-pattern costume, can be seen through a doorway on the right, watching from a distance as he too is in love with Colombine. On the left, Polichinelle (French for the Commedia dell'arte character Pulcinella), is seated, seemingly dozing off, his signature hat discarded beside him. This gesture may symbolize his indifference or detachment from the emotional drama unfolding between Pierrot and Colombine.
The painting brilliantly captures the theatrical tension between Pierrot's earnestness and Polichinelle's playful, indifferent demeanor. Vollon's choice to highlight the interaction between Pierrot and Colombine, with Harlequin observing from afar, creates a layered narrative filled with unrequited love, jealousy, and comic detachment.
Influenced by French Realism, Vollon followed in the footsteps of his father, Antoine Vollon, which is evident in the realistic and detailed portrayal of the characters, despite their exaggerated, theatrical nature. This piece stands as a prime example of late 19th-century French realism, blending dramatic emotion with meticulous attention to costume and character portrayal. Vollon used colors typical of the period, mixing the bright, festive tones of Carnival - reds, blues, and golds - with darker shades to create depth in the characters' emotional complexities. The vivid contrast in their costumes - Pierrot's white blouse, Colombine's red corset, and Polichinelle's bolder yellow and pink ensemble - accentuates their distinct personalities. Polichinelle's costume also features two humps, one on his back and another on his belly. The back hump, comically sagging and almost deflated, mirrors his weary, detached demeanor.
The painting made such an impact that it wasn't just displayed at the Salon, it was also circulated as an etching in Figaro-Salon and L'Art publications in 1890 and 1891, reaching an even wider audience.