A clown a jester stares out from the canvas. His painted face holds a hint of melancholy. This is El Payaso.
El Payaso is more than just a painting. It’s a window into the soul of Rafael Coronel. A renowned Mexican artist Coronel painted El Payaso in 1956. He used acrylics on masonite. The painting’s rich colors and thick brushstrokes create a dramatic effect.
Coronel’s family was artistic. His grandfather decorated churches. His brother Pedro Coronel was a famous abstract painter. His father-in-law was the legendary Diego Rivera. Coronel worked in Rivera’s studio for years. He learned from a master. He absorbed the vibrant Mexican art scene.
In the late 1950s and 1960s Coronel’s art changed. He moved away from the epic themes of the muralists. He chose different subjects. His focus shifted to older marginalized characters. These figures were increasingly isolated. They were self-absorbed.
El Payaso is one such character. He is a recurring theme in Coronel’s early work. The clown seems engaged with his surroundings. Yet he betrays anxiety. A spectacle is about to begin. He feels the pressure.
The size of El Payaso is impressive. Framed it measures 25 1/2 by 22 1/8 inches. The sight size is slightly smaller 24 3/16 by 21 1/8 inches. These dimensions emphasize the painting’s presence.
El Payaso is not just a depiction of a clown. It’s a comment on performance. It’s a reflection of the artist’s own time. It’s a piece of Mexican art history. It speaks of isolation. It speaks of anxiety. It speaks of a fleeting moment.
The painting is a gift. Robert L Clark Jr donated El Payaso to the Blanton Museum of Art. The museum is located at The University of Texas at Austin. The gift secured El Payaso’s place in art history. It made El Payaso accessible to a wider audience.
El Payaso invites contemplation. He demands your attention. His painted eyes seem to follow you. He is a timeless figure. He reminds us of the human condition. He is a testament to Coronel’s skill. He is El Payaso.