Commedia dell'Arte

Commedia dell’Arte, also known as “comedy of professional artists”, is an Italian theatrical form that flourished in Europe from the 16th century to the 18th century. This form of theater emphasized ensemble acting. The plots were often borrowed from the classical literary tradition of commedia erudita, or learned comedy, and the improvisations were set in a framework of masks and stock situations.

The characters were divided into four main categories: the Zanni (servants), the Vecchi (old men), the Innamorati (lovers), and the Capitano (captains). The Zanni were the most important and disruptive characters as they decided the fate of the other characters. The Vecchi were simply the elders in the scene. The Innamorati were the young lovers of the play whose love was often hindered by the Vecchi but supported by the Zanni, and the Capitano were the war heroes of the play. There were several other characters involved; however, these were just the main categories.  

Even though every role was improvised, each character could be depicted based off of their distinct attire, gestures, speech, and props. Most characters wore masks to define who they were, and all characters had unique costumes and even postures. This allowed artists to correctly portray specific characters in paintings and figurines.

A Dance in the Country, 1755

Giovanni Domenico Tiepolo

oil on canvas

29¾x47¼in.

1980.67  

Tiepolo, an artist who found interests in the Commedia dell’Arte, often uses characters from this style of theater as his painting’s subjects. In A Dance in the Country, Tiepolo depicts Commedia dell’Arte’s Mezzetino and Pulcinella characters. This is known because of the common costumes, masks, and gestures these two characters are known for. Mezzetino is known for wearing red, for wearing some kind of cape and hat, and for talking to the ladies, and Tiepolo successfully includes these common attributes of Mezzetino on his center figure in his painting. Pulcinella is known for his grotesque nose and tall hat, attributes Tiepolo captures and includes to distinguish this figure from the crowd.

Mezzetin, 1718-20

Antoine Watteau

oil on canvas

21¾x17 in.

34.138

As Tiepolo, Watteau depicts the Commedia dell’Arte character of Mezzetino. To ensure the viewer is aware of which character is present, Watteau paints his figure in a striped tunic with white breeches. He also includes a red hat and cape, common features of Mezzetino. Although this character looks different than Tiepolo’s depiction of the same character, they are both in fact valid representations of the character because Mezzetino’s attire had altered slightly over the years. Watteau also paints Mezzetino with a dramatic head and hands to represent his expressive character.  

Harlequin, 1760

Franz Anton Bustelli

hard-paste porcelain

7⅞in.

1974.356.525

Bustelli won popularity with his Commedia dell’Arte figurines because he was able to successfully portray characters based off their costumes. The male figure represents Harlequin, a principal character of the Commedia dell’Arte. Harlequin is known for his vibrant, brightly colored, patched suits. The female figure represents Harlequina. Harlequina’s attire is notable because it is complementary to Harlequin’s suit. Both figurines are positioned in a way that suggest movements in a dance specific to the play. They are also positioned in such a way that conveys an aspect of their personality and character.

Commedia dell’Arte, 1958

Gino Severini

Lithograph

27.5x21 in.

68.176

Color contrast and abstraction are used by Severini to depict two characters from Commedia dell’Arte. It’s obvious these two figures are from the Commedia dell’Arte because of their graphic costumes. Specifically notable is the diamond-shaped patterned suit, which allows the viewer to go a step further and distinguish the figure on the right to be Harlequin. The use of cubism aids in portraying each figure’s personality. The masks Severini gave to the figures support the mysterious and bizarre character traits of each character.

Harlequin with Goat as Bagpipes, 1736

Meissen Manufactory

hard-paste porcelain

5 9/16x3x2½in.

1982.60.316

The colorful costume and mischievously smiling mask Meissen created conform to the aesthetics of the Commedia dell’Arte character of Harlequin. The exaggerated naturalism of the goat as bagpipes amplifies Harlequin’s grotesque character. Harlequin’s character would be one to take a live goat and use it for bagpipes, and this figurine effectively shows Harlequin’s distorted and wild character and actions as he would be seen in the play. 

Commedia dell’Arte, 1936

Zygmunt Waliszewski

oil on cardboard

18.1x24in.

The National Museum of Krakow

Even though Waliszewski portrays a migrant acting troupe using childlike impressions, he is still able to effectively show specific Commedia dell’Arte characters. In the middle of the painting are Harlequin and Columbina. The checkered-like suit give the principal Harlequin character away, and the dress and eye makeup give Harlequin’s mistress, Columbina, away. It’s evident that the two figures on the right are also characters from the Commedia dell’Arte because of how exaggerated their look is with their big noses and hats.