ABSTRACT

In this paper I consider two nearly-forgotten artistic practices: that of British painter Thérèse Lessore (1884–1945) and the annual World’s Fair Circus held in Islington, London which she painted on several occasions in the 1920s and 30s. Despite Lessore’s significant output and the positive critical attention her artwork received during her lifetime, her career has been overshadowed by that of her second husband, the prominent British impressionist Walter Sickert. Both artists shared an interest in watching, drawing and painting popular entertainments, and even before they were married they frequently attended music halls, theatres and circuses together to gain inspiration for their work. From 1927 to 1934, the couple became regular attendees at the annual World’s Fair circus, which Lessore went on to depict in several paintings. Dating back to 1883, the World’s Fair, with its circus, animal menagerie, rides, and other novelties, brought the splendour of the summer fair into the Christmas period where it was sheltered from the winter elements by the glass and iron ceiling of the Royal Agricultural Hall. Despite its longevity and popularity, little has been written about the fair and the circuses it hosted. This paper begins the work of contextualising Lessore’s paintings and, in the process, recuperating a circus tradition that held significance for thousands of Londoners across the late nineteenth and early twentieth century.

摘要

在本文中，我考虑了两种几乎被遗忘的艺术实践：英国画家 Thérèse Lessore（1884-1945）的艺术实践和在伦敦伊斯灵顿举行的一年一度的世界博览会马戏团的艺术实践，她在 1920 年代和 30 年代多次进行绘画。尽管莱索尔的作品数量巨大，而且她的作品在她一生中受到了积极的批评，但她的职业生涯却被她的第二任丈夫、著名的英国印象派画家沃尔特·西克特 (Walter Sickert) 所掩盖。两位艺术家都对观看、绘画和绘画流行的娱乐活动有着共同的兴趣，甚至在他们结婚之前，他们就经常一起去音乐厅、剧院和马戏团，为他们的作品寻找灵感。从 1927 年到 1934 年，这对夫妇成为一年一度的世界博览会马戏团的常客，莱索尔继续在几幅画中描绘。可追溯到 1883 年的世界博览会，以其马戏团、动物园、游乐设施和其他新奇事物，将夏季博览会的辉煌带入了圣诞节期间，在那里它被皇家的玻璃和铁质天花板遮住了冬天的元素农业厅。尽管它的历史悠久且广受欢迎，但关于它举办的博览会和马戏团的报道却很少。本文开始将莱索尔的画作背景化，并在此过程中恢复马戏团传统，该传统对 19 世纪末和 20 世纪初的数千名伦敦人具有重要意义。将夏季集市的辉煌带入了圣诞节期间，皇家农业大厅的玻璃和铁质天花板为它遮挡了冬季元素。尽管它的历史悠久且广受欢迎，但关于它举办的博览会和马戏团的报道却很少。本文开始将莱索尔的画作背景化，并在此过程中恢复马戏团传统，该传统对 19 世纪末和 20 世纪初的数千名伦敦人具有重要意义。将夏季集市的辉煌带入了圣诞节期间，皇家农业大厅的玻璃和铁质天花板为它遮挡了冬季元素。尽管它的历史悠久且广受欢迎，但关于它举办的博览会和马戏团的报道却很少。本文开始将莱索尔的画作背景化，并在此过程中恢复马戏团传统，该传统对 19 世纪末和 20 世纪初的数千名伦敦人具有重要意义。