Merry-Go-Round by Clarence Holbrook Carter

Merry-Go-Round 1949

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painting, oil-paint

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fantasy art

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painting

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fantasy illustration

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oil-paint

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landscape

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fantasy-art

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figuration

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horse

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surrealism

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surrealism

Copyright: Clarence Holbrook Carter,Fair Use

Editor: This is "Merry-Go-Round," painted by Clarence Holbrook Carter in 1949 using oil paint. It’s quite peculiar – almost unsettling, with these stylized horses standing rigidly under what looks like a circus tent against a drab landscape. What structural elements strike you most profoundly? Curator: Immediately, the artificiality. Note how Carter uses texture to emphasize the separation between the foreground horses and the background landscape. The horses' spotted hides create a deliberate pattern, juxtaposed against the looser brushstrokes of the background. Consider how the lines of the tent canopy create a sense of confinement. Do you perceive this constraint as intentional? Editor: Yes, the rigid geometry of the carousel contrasts sharply with the muted, hazy background. The landscape feels boundless, yet the horses are trapped in a repeating cycle. What does the limited palette suggest to you? Curator: Carter's restricted color choice—the muted browns, grays, and reds—contributes to the somber mood. It minimizes any sense of vibrancy one might associate with a carousel, leading us away from festivity. We have forms, yet the hues lack the verve typical of entertainment. How does this muted color palette change your perception of form? Editor: It's as if the color reinforces the static nature of the scene. There is little feeling of dynamism that the structure and design elements suggest, and that discord feels very unsettling. It brings a dreamlike sense, one slightly soured. Curator: Precisely. The interplay of form and color creates tension, defying expectations. The structural elements point toward activity and joy, but the constrained colors evoke a static atmosphere, leading the eye toward contemplation. It showcases a profound mastery of intrinsic visual language. Editor: This really encourages one to move past the immediately accessible and look for what the work’s materiality communicates about its meaning, too. Curator: Indeed. Close inspection, not immediate recognition, reveals the true depth.

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