Design for a Stage Set: Casino de St. Etienne 1830 - 1890

Editor: This watercolor, "Design for a Stage Set: Casino de St. Etienne" by Eugène Cicéri, was created sometime between 1830 and 1890. I am intrigued by the grid layered on top of the design itself, and the frankly muted palette for what I would assume to be a pretty grandiose space. What draws your eye in this work? Curator: My attention is directed to the meticulous articulation of space. Consider the way Cicéri employs linear perspective. The grid, as you observed, is crucial. It isn't merely overlaid; it's integral to the design’s spatial logic, a framework upon which the theatrical illusion is constructed. Notice how the architecture on either side echoes, but is not quite symmetrical, offering a kind of dynamic balance. What effect do you think that achieves? Editor: It feels like the artist is making a statement about how perfect symmetry in art and architecture may not be attainable, or perhaps isn't even desired, by creating just enough asymmetry. Curator: Precisely. And consider the interplay of line and color. The rigid structure of the architectural elements contrasts beautifully with the flowing lines of the stage curtain. Observe, too, the limited color palette—terracotta, gold, shades of white and cream—which serves to unify the composition. Each element contributes to an overarching structural harmony. What might we say about the emotional tenor of such an approach? Editor: Given the somewhat subdued color choice, despite the classical design, it is as if the artist were highlighting the stage design's practicality and formal aspects over its exuberant or emotional impact. It feels deliberately restrained. I see how the lines and colors work together, in concert. Curator: Indeed. By understanding how these intrinsic qualities interrelate, we can grasp Cicéri’s formal strategies and better appreciate the drawing's intricate aesthetic achievement.