Harlequin 1965

Gino Severini’s ‘Harlequin’ is made with flat planes of gouache, conjuring up the essence of the theatrical character. The painting feels provisional, like it has come into being through shifting and emerging gestures, a dance of trial, error, and intuition. I can imagine Severini, brush in hand, trying to capture the playful spirit of the harlequin with its patterns and textures. I picture him thinking about what it means to be a performer. The paint is thin, almost translucent in places, allowing the surface to breathe and creating an airy, dreamlike quality. The juxtaposition of the harlequin’s costume with the accordion feels so clever. I see echoes of Picasso and Braque in Severini’s use of geometric forms, but he brings his own unique sensibility to the canvas. It feels like he's inviting us to join in a conversation about art, performance, and the human condition.