Pablo Picasso Ruiz’s art during the years 1904 to 1905 is known as The Rose Period. Contrary to its name, this period does not solely consist of rose or light pink colors, but also incorporates greens, blues, and reds. This collection of vibrant colors emerged after a phase in which Picasso chose a more subdued color palette, particularly monochrome blue, hence referred to as “The Blue Period.” Despite the brighter and livelier colors of The Rose Period, the emotional depth in Picasso’s works is diminished due to his choice of subjects.
Picasso’s subject of choice is the travelling circus, where he explores the realm of joy and peculiarity. In both the blue and rose periods, Picasso is constantly on the move, relocating his studios in alignment with his travels. The nomadic lifestyle of circus performers, as well as their societal status, captivates Picasso. While they are performers who consistently put on a display, beneath their performances lie the true identities of individuals known solely to themselves and their inner circle. Similarly, artists face the same predicament, as they only receive compensation if they successfully entertain.
In the rose period paintings, Picasso often portrays circus performers and Saltimbanques, which are travelling acrobats, in serene settings where they appear distant from one another. For instance, in Two Acrobats and a Dog (1905), he depicts two young acrobats situated against an unspecified, desolate backdrop. Despite being physically close, the acrobats avert their gazes in separate directions, lacking any interaction and leaving the purpose of their presence indistinct. Moreover, disparities in their heights further emphasize their disconnection from both each other and the vacant landscape.
One of the most famous works of the rose period is The Saltimbanques Family (1905). In this painting, each character is depicted separately, representing the loneliness and independence that Picasso observed in the performers. The harlequin, who represents Picasso himself, looks straight ahead to the right. The little girl gazes down at her basket of flowers. The young boy, acrobat, and woman all look diagonally to the right, while the jester with a red cap is the only one looking to the left.
Unlike paintings from Picasso’s blue period, The Saltimbanques Family features figures that do not seamlessly blend in with the background. This lack of harmony enhances the feeling of alienation experienced by the subjects. Comparing The Saltimbanques Family with another family painting by Picasso, such as Picnic on the Grass (1903), provides even deeper insight. In Picnic on the Grass, known as The Soler Family, the blue monochromism of the clothing worn by the children, man, and woman reflects Picasso’s blue period.
The Soler Family, unlike The Saltimbanques Family, has all their faces directed towards the viewer, displaying their strong sense of family and unity. Interestingly, during the rose period, Picasso experienced a period of stability as he sold many paintings and lived with his mistress, Fernande Olivier, whom he was deeply in love with. This suggests that Picasso’s art focused on the circus reflects his seemingly contradictory state of contentment.
The artist deliberately chooses to depict the clowns and acrobats of the circus in a calm and peaceful manner, rather than capturing their supposed carefree nature. He seeks to be immersed in the lively atmosphere of the circus while maintaining his own sense of tranquility. In his painting titled The Death of a Harlequin (1905), a deceased circus performer is depicted laying on a bed, with what appears to be his wife and son mourning him. The face of the deceased man is peaceful, and his hands are delicately arranged, resembling a prayer. The other two characters in the painting share similar facial features with the harlequin, but their full bodies are not visible. Notably, only the neck-up of the child is portrayed.
The painting emphasizes the pale appearance of each person’s face, with light colors used throughout. The harlequin in the painting blends in with the background except for his collar, sleeve, and a patch of circus color on his shoulder. Another painting, titled Family of Acrobats with a Monkey (1905), may not have a contradictory title but its content is unexpected. The artwork depicts three people and a monkey sitting in a lightly colored room. All the characters, including the monkey, appear peaceful and immaculate as they share a moment together.
The main focal point of the painting is the child seated on the mother’s lap, alongside a monkey and a man who are in similar positions. Initially, it may seem like the man is reaching out to touch his child, but he is actually resting his right hand. Likewise, the monkey has its hand extended while resting it on its lower leg as it gazes at the child. The child’s gaze, however, is directed towards the viewer. To truly comprehend and appreciate Picasso’s transition in style during his rose period, one can compare it to paintings from a year or two earlier. An illustration of this can be found in The Old Guitarist (1903), which depicts a destitute and blind man playing guitar near a doorway.
The emotional expression of the man in the Old Guitarist parallels his situation of despair, contrasting with the acrobatic family and the deceased harlequin. His hair swirls around his head and extends into sideburns and a patchy white beard. His gaze is fixed on the floor, conveying his blindness, while his right side slopes downwards, emphasizing his protruding left shoulder and tattered shirt. The man’s face reveals enduring suffering, depicting a person compelled to play an instrument for survival. The overall color palette is equally dark.
The man’s clothing and skin are both blue, resembling the hue of spoiled foods or mildew, while the wall behind him is also blue-green. The brevity of Picasso’s rose period is notable as it was just a small offshoot of his creative imagination. Given humans’ natural inclination to gravitate towards others with similar lifestyles or experiences, the rose period is logically understandable. Picasso himself stands out among other artists, much like his harlequin character in The Saltimbanques Family, as he has his own unique appearance.
