This lively era found a devotee in an astute photographer who recorded the heart and soul of circus people.
For more than thirty years, Frederick W. Glasier (1866–1950) was the official photographer of Barnum and Bailey Circus, which proudly called itself “the world’s grandest, largest, best amusement institution.”
An exhibit at the UBS Arts Gallery in Manhattan, “HEYDAY: Frederick W. Glasier’s American Circus, 1890–1925,” displays more than 60 of his photographs.
On view until Jan. 23, 2009, the exhibit juxtaposes photographs with a dozen lithographic circus posters that announce the wild, weird, and wonderful world of circus entertainment.
Months before the circus arrived, hawkers would plaster brightly colored posters on the streets, promising a glimpse of the amazing and sensational sights to be seen, whether it was exotic animals, high-wire acrobatics, or clowns by the dozen.
Circus promoters mythologized the stars and their incredible skills, all the while claiming that the performers wanted to be seen, according to one ad, ”merely as men and women with aspirations and ambitions very like those of ordinary people.”
Right. When the circus arrived in a small town and rural areas, stores and even churches closed. A fantasy larger than life overtook reality, even if it was only while the circus was in town.
All items come from the John and Mable Ringling Museum of Art in Sarasota, Florida. The Eakins Press Foundation of New York organized the exhibit, whose mission is to present little-known or neglected masterpieces that otherwise would miss exposure to the broader public.
At the exhibit, you’ll meet the heroes of Buffalo Bill’s Wild West Show, female equestrians in romantic or short and frilly outfits, and the strongwoman Charmion (1904)—elegant precursor of today’s female body builders—who proudly posed for Glasier’s camera in single and double bicep poses.
Then there is “Yankee Snake Charmer” Miss Octavia in what was a daringly tight-fitting outfit for 1901.
Further highlights of the exhibition are Glasier’s famous portraits of Chief Iron Tail (1914)—last survivor of the battles of Little Big Horn and Wounded Knee—and legendary clown Pete Mardo (1923), who as a child ran away from home to join the circus.
When the circus was already a show bigger than life, Glasier’s photography transcended it. What makes Glasier’s pictures more than historical documents or mementos that capture only the moment is that he told the story of the circus people as a timeless tale of humanity.
One can see the struggles and hardships of life in their physiognomies and even the hand-stitching on their costumes. In the portraits of the Indians, their jewelry reveals details such as which tribe they belonged to.
Peter Kayafas, curator of the exhibition and director of the Eakins Press Foundation, explains that the amazing aura of Glasier’s pictures comes from his portrayal of people both as artists and, at the same time, as persons.
“Glasier had the ability to unveil the humanity behind the façade, and the circus, of course, is most of all about façade. He transcends the portrait of a person. His photography is not only a unique historical document, it’s about the people.”
According to Kayafas, it’s time to regard Glasier not only as an important circus photographer, but also to place him among the greats of American photography.
“Glasier had the capacity as a portrait photographer that allowed his camera to disappear. Even 100 years later we feel like looking at these people,” said Kayafas.
Soon to follow as a joint venture of the museum and the Eakins Press Foundation is a book on Glasier’s artistry photographing circus and Wild West show subjects.
Planned for publication at year’s end, the book will give special insight into his working techniques. A biography is included to raise more awareness of this American master.
Deborah W. Walk, Tibbals curator at the John and Mable Ringling Museum of Art and co-curator of the exhibition, explained Glasier’s distinctive view. “He was travelling a lot with the artists and thus could build this wonderful relationship. He had this intimate look that not everyone was able to capture.”
Jennifer Lemmer Posey, assistant curator of the circus museum, added, “It’s thrilling to be in New York with this exhibition where still so many wonderful circus companies reside because it shows the circus in its golden age.”
The John and Mable Ringling Museum of Art in Sarasota, Florida, was established in 1948 and was the first museum to specialize in circus history. The museum includes a collection of pictures and posters as well as original performance equipment, wagons, and costumes.
Howard Tibbals established the Tibbals Learning Center at the museum that features a 3,800 square-foot exhibit depicting the American circus from 1919 to 1938 in ¾-inch scale.
“HEYDAY: Frederick W. Glasier’s American Circus, 1890–1925” is sponsored by UBS and on display until Jan. 23, 2009. Visitors may see it Monday through Friday, 8 a.m. to 6 p.m. in the lobby of the UBS building at 1285 Avenue of the Americas, between 51st and 52nd streets.
