Thyssen-Bornemisza Museo Nacional Search Ir al contenido principal

Navegación superior (EN)

About Us Support Become Friend Shop Tickets
Español
Visit Collection Exhibitions Activities Education Search
  • Visit
  • Collection
  • Exhibitions
  • Activities
  • Education

Thyssen - Navegación superior (EN)

About Us Support Become Friend Shop Tickets
Español
©
Estate of Walt Kuhn
Walt Kuhn

Chico in Top Hat

1948
Oil on canvas.
58.4 x 53.3 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1975.53
)
ROOM J
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL

Chico in Top Hat is one of the many representations of circus performers constituting a fundamental part of Kuhn's artistic creation. One of the best examples of this subject is White Clown, painted in 1929, now at the National Gallery of Washington, and his most famous work. In that painting, Kuhn composed a monumental, robust figure in a sitting position, which takes up the entire canvas, and which patently shows the influence of Cézanne's concept of composition. Chico in Top Hat, on the other hand, clearly reveals a difference in its artistic design and execution. The stylised figure of the young clown wearing a jacket and a black top hat stands out against a grey background with wide vertical folds. His long bony face is covered in thick white makeup with strong black lines outlining the eyebrows, eyes and lips. The painting is executed with a restricted range of colours, which Kuhn uses to give intense effects of light. Chico presents a frontal gaze and is strongly hieratic, with a restrained expression conveying intense melancholy. Clearly, the emphasis is on the huge eyes, a characteristic of the majority of Kuhn's figures from the 1920s until the end of his life, although this was not the case of White Clown, in which the painter was more interested in the volume and plasticity of the body. Here, the character stares at a point outside the painting, where the spectator stands, but the intensity of his gaze is not really on the viewer or on an object outside the picture; it hides a deep sense of solitude and of interior crisis, which Kuhn's friends had perceived in the painter himself during the last months of his life, when he held his last exhibition at the Durand-Ruel Gallery in New York. In November 1948 he had a nervous breakdown followed by a gastric perforation, as a consequence of which he died in a hospital in New York.

Kuhn's relationship with the performing arts was not just an artistic option in line with so many representations of harlequins, clowns, actors and circus performers, starting with Watteau's Gilles, Degas' circus scenes, Picasso's harlequins and Rouault's characters. Among the American painters, Everett Shinn had depicted theatre and variety shows, while Bellows and Luks had chosen boxing matches. The direct and realistic representation of the figure recalls the circle of realist painters in which Walt Kuhn had moved in his initial years. Although he was not a direct follower of Robert Henri or of the so called Ash Can School, he was in touch with him and his circle during the organisation of the Exhibition of Independent Artists held in 1910, three years before the Armory Show. Kuhn shared with the realist artists a taste for the direct observation of things, and particularly a strong rejection of academic conservatism. He had always been a skilful entrepreneur and organiser. His link with the world of the performing arts went back to his youth when he was responsible for delivering to the theatres the costumes made in the shop where he worked, and he often delayed behind the scenes. Later, he executed some advertising commissions for the circus and in 1928 he collaborated with Libby Holman in the vaudeville show Merry-Go-Round, for which he designed the set and costumes. The characters which fill his paintings of the 1920s, 30s and 40s were generally professional performers and not models, and Kuhn and his wife designed the circus or theatre costumes with which they were portrayed.

Carmen Bernárdez Sanchís
 

20th CenturyPaintingOilcanvas
Listen
Download image Print page

Tours to find it

Swaying Dancer (Dancer in Green), 1877-1879
Tours
A journey through the Performing Arts

The performing arts as an arena of encounter.  

Products and publications

The Impressionists and Photography. Exhibition catalogue. English Hard Cover

The Impressionists and Photography. Exhibition catalogue. English Hard Cover

38.00 € 36.10 €

Catalog Walid Raad: Cotton Under My Feet (English)

Catalog Walid Raad: Cotton Under My Feet (English)

25.00 € 23.75 €

Klee socks

Klee socks

13.50 €

Poster Richard Estes: People's Flower

Poster Richard Estes: People's Flower

12.50 €

Visit online shop

More from the collection

Walt Kuhn
Walt Kuhn
Bathers on a Beach
1915
  • Private and/or didactic use
  • Commercial use
Private and/or didactic use
Chico in Top Hat. Chico con chistera, 1948
Chico in Top Hat
Walt Kuhn

©

Estate of Walt Kuhn

Terms of Use

The exploitation rights of the images correspond to the Fundación Colección Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes and non-commercial uses.

However, this work is protected by copyright. Therefore, regardless of the terms of use of the images set out below by the Foundation, it will be necessary to obtain a license from the author or copyright holder known to the Fundacion in order to reproduce or exploit the work.

Use for educational and research purposes is understood as the non-commercial use of images in presentations, conferences, school or university work, in classes at regulated education institutions, as well as in academic publications, with a circulation of less than 1,000 copies, provided that it is non-profit.

Non-commercial use is understood as the use of the images in a context where no profit, monetary or commercial, is generated, directly or indirectly.

Any use other than those indicated above will require the prior written authorisation of the Fundación.

Any request for educational and research use or for non-commercial use (including academic publications), should be directed by email to the Museum Photo Library through the email address archivo.fotografico@museothyssen.org. This department manages the worldwide distribution of the images of the works of the Museo Nacional Thyssen-Bornemisza and the management of their reproduction rights for those uses.

The user agrees to use the image of the website solely and exclusively for the purposes described above and in accordance with the following terms of use, which, however, do not apply to the reproduction of photographs, as they are protected by Copyright.

Terms of use

Any total or partial reproduction of the images of the Fundación that has been previously authorised must be accompanied by the copyright text indicated by the owners or their copyright holders as well as the following mention: Provenance: Carmen Thyssen.

  • If the image is used for reproduction, the work must be reproduced in its entirety. The image may not be manipulated, deformed, modified or altered in any way. In particular, no superposition (of images or texts) on the reproduction is allowed.
  • The reproduction of a detail or part of the work may only be made with the prior written authorization of the Fundacion. In this case, the credit line must include the following mention: “detail”.
  • The user will send free of charge to the Museum Photo Library one (1) free copy of the edition, publication or reproduction to the following address: Archivo Fotográfico, Museo Nacional Thyssen-Bornemisza, Paseo del Prado, 8 28014 Madrid, Spain.
Download image
Commercial use
Chico in Top Hat. Chico con chistera, 1948
Chico in Top Hat
Walt Kuhn

©

Estate of Walt Kuhn

Terms of Use

The Photographic Archive of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works of the works of the Carmen Thyssen Collection.

To request images or permits for commercial use in academic or research publications, that is, catalogues of other institutions, monographs and other specialized publications, you should contact the Museum's Commercial Archive by email at the e-mail @email.

To request images or permits for other commercial or advertising uses (general publications, merchandising, exhibitions, audio-visual works, web pages, etc.), you should contact the Museum's Commercial Archive by email at the e-mail @email.

The Photo Library and the Museum's Commercial Archive manage the worldwide distribution of images of the Museo Thyssen-Bornemisza works, as well as their reproduction rights. The applicable rates are calculated based on the nature and proposed use of the images, as well as the availability of the requested image.

Requests for scans or new photographs will be reviewed on a case-by-case basis. Once approved, an additional fee will apply. Re-photographing a work will require a minimum of six weeks to complete.

However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the photographs set out below by the Foundation, it will be necessary to obtain a license from the author or copyright holder known to the Fundacion in order to reproduce or exploit the work.

Download image
Thyssen-Bornemisza Museo Nacional

Navegación secundaria (EN)

  • #Thyssenmultimedia
  • Press
  • Corporate events
  • Tourism
  • Join our team
  • Newsletter
Instagram
Facebook
X
Youtube
TikTok
iVoox
LinkedIn

The Museo Nacional Thyssen-Bornemisza would like to thanks for the collaboration of:

Fundación Mutua Madrileña Master Card Comunidad de Madrid
©2025 Thyssen-Bornemisza National Museum

Menú al pie (EN)

  • Legal terms and use of images
  • Public tenders
  • Transparency site
  • Accessibility and quality
  • Sustainability & 2030 Agenda
  • Contact
Ministry of Culture España es cultura | Spain is culture. The website promoting Spanish culture Paisaje de la Luz | Paseo del Prado y Buen Retiro. Paisaje de las Artes y las Ciencias
Certificación de Conformidad con el Esquema Nacional de Seguridad. Categoría Media. RD 311/2022