Editing Pierrot (section)

====France====
;Popular and literary pantomime
[[File:Sarah Bernhardt as Pierrot.jpg|thumb|Atelier Nadar: [[Sarah Bernhardt]] in [[Jean Richepin]]'s ''Pierrot the Murderer'', 1883. Bibliothèque Nationale, Paris.]]
[[File:Poster for Hanlon-Lees' "Superba".jpg|thumb|Anon.: Poster for Hanlon-Lees' ''Superba'', 1890–1911. Theatre Collection of the New York Public Library at Lincoln Center.]]
[[File:Léon Hennique - Pierrot sceptique.jpg|thumb|[[Jules Chéret]]: Title-page of Hennique and [[J.-K. Huysmans|Huysmans]]' ''Pierrot the Skeptic'', 1881]]
[[File:Paul Cézanne, 1888, Mardi gras (Pierrot et Arlequin), oil on canvas, 102 x 81 cm, Pushkin Museum.jpg|thumb|[[Paul Cézanne]]: ''Mardi gras (Pierrot and Harlequin)'', 1888, [[Pushkin Museum]], Moscow]]
In the 1880s and 1890s, the pantomime reached a type of apogee, and Pierrot became ubiquitous.<ref>On late 19th-/early 20th-century French pantomime, see Bonnet, ''La pantomime noire'' and ''Pantomimes fin-de-siècle''; Martinez; Storey, ''Pierrots on the stage'', pp. 253–315; and Rolfe, pp. 143–58.</ref> Moreover, he acquired a female counterpart, Pierrette, who rivaled Columbine for his affections. A [[Cercle Funambulesque]] was founded in 1888, and Pierrot (sometimes played by female mimes, such as [[Félicia Mallet]]) dominated its productions until its demise in 1898.<ref>See Storey, ''Pierrots on the stage'', pp. 284–294.</ref> [[Sarah Bernhardt]] even donned Pierrot's blouse for [[Jean Richepin]]'s ''Pierrot the Murderer'' (1883).

But French mimes and actors were not the only figures responsible for Pierrot's ubiquity: the English Hanlon brothers (sometimes called the [[Hanlon-Lees]]), gymnasts and acrobats who had been schooled in the 1860s in pantomimes from Baptiste's repertoire, traveled (and dazzled) the world well into the 20th century with their pantomimic sketches and extravaganzas featuring riotously nightmarish Pierrots. The [[Naturalism (literature)|Naturalists]]—[[Émile Zola]] especially, who wrote glowingly of them—were captivated by their art.<ref>See Cosdon, p.49.</ref> [[Edmond de Goncourt]] modeled his acrobat-mimes in his ''The Zemganno Brothers'' (1879) upon them; [[J.-K. Huysmans]] (whose ''[[À rebours|Against Nature]]'' [1884] would become [[The Picture of Dorian Gray|Dorian Gray]]'s bible) and his friend [[Léon Hennique]] wrote their pantomime ''[[s:fr:Pierrot sceptique (pantomime)|Pierrot the Skeptic]]'' (1881) after seeing them perform at the Folies Bergère (and, in turn, [[Jules Laforgue]] wrote his pantomime ''Pierrot the Cut-Up'' [''Pierrot fumiste'', 1882]<ref>{{Cite web|url=http://www.laforgue.org/Pierrot.htm|title=Pierrot fumiste (Jules Laforgue)|website=www.laforgue.org|access-date=2016-07-05}}</ref> after reading the scenario by Huysmans and Hennique).<ref>On the influence of the Hanlons on Goncourt and Huysmans and Hennique, see Storey, ''Pierrots on the stage'', pp. 182–188, 217–222; on the influence of Huysmans/Hennique on Laforgue's pantomime, see Storey, ''Pierrot: a critical history'', p. 145, 154.</ref> It was in part through the enthusiasm that they excited, coupled with the [[Impressionism|Impressionists]]' taste for popular entertainment, such as the circus and the music-hall, as well as the new bohemianism that then reigned in artistic quarters such as [[Montmartre]] (and which was celebrated by such denizens as [[Adolphe Willette]], whose cartoons and canvases are crowded with Pierrots)—it was through all this that Pierrot achieved almost unprecedented currency and visibility towards the end of the century.
;Visual arts, fiction, poetry, music, and film
He invaded the visual arts<ref>See Lawner; Kellein; also the plates in Palacio, and the plates and tailpieces in Storey's two books.</ref>—not only in the work of Willette, but also in the illustrations and posters of [[Jules Chéret]];<ref>For posters by Willette, Chéret, and many other late 19th-century artists, see Maindron.</ref> in the engravings of [[Odilon Redon]] (''The Swamp Flower: A Sad Human Head'' [1885]); and in the canvases of [[Georges Seurat]] (''Pierrot with a White Pipe [Aman-Jean]'' [1883]; ''The Painter Aman-Jean as Pierrot'' [1883]), [[Léon Comerre]] (''Pierrot'' [1884], ''Pierrot Playing the Mandolin'' [1884]), [[Henri Rousseau]] (''A Carnival Night'' [1886]), [[Paul Cézanne]] (''Mardi gras [Pierrot and Harlequin]'' [1888]), [[Fernand Pelez]] (''Grimaces and Miseries'' a.k.a. ''The Saltimbanques'' [1888]), [[Pablo Picasso]] (''Pierrot and Columbine'' [1900]), [[Guillaume Seignac]] (''Pierrot's Embrace'' [1900]), [[Théophile Steinlen]] (''Pierrot and the Cat'' [1889]), and [[Édouard Vuillard]] (''The Black Pierrot'' [c. 1890]). The mime "Tombre" of [[Jean Richepin]]'s novel ''Nice People'' (''Braves Gens'' [1886]) turned him into a pathetic and alcoholic "phantom"; [[Paul Verlaine]] imagined him as a gormandizing naïf in "Pantomime" (1869), then, like Tombre, as a lightning-lit specter in "Pierrot" (1868, pub. 1882).<ref>For a full discussion of Verlaine's many versions of Pierrot, see Storey, ''Pierrots on the stage'', pp. 230-52.</ref> [[Jules Laforgue|Laforgue]] put three of the "complaints" of his first published volume of poems (1885) into "Lord" Pierrot's mouth—and dedicated his next book, ''[[L'Imitation de Notre-Dame la Lune|The Imitation of Our Lady the Moon]]'' (1886), completely to Pierrot and his world (Pierrots were legion among the minor, now-forgotten poets: for samples, see Willette's journal ''The Pierrot'', which appeared between 1888 and 1889, then again in 1891). In the realm of song, [[Claude Debussy]] set both Verlaine's "Pantomime" and [[Théodore de Banville|Banville]]'s "Pierrot" (1842) to music in 1881 (not published until 1926)—the only precedents among works by major composers being the "Pierrot" section of [[Telemann]]'s ''Burlesque Overture'' (1717–22), [[Mozart]]'s 1783 "Masquerade" (in which Mozart himself took the role of Harlequin and his brother-in-law, [[Joseph Lange]], that of Pierrot),<ref>{{harvnb|Deutsch|1966|p=213}}. The score, which is fragmentary, exists as K. 446.</ref> and the "Pierrot" section of [[Robert Schumann]]'s ''Carnival'' (1835).<ref>Debussy may have added the operetta ''Mon ami Pierrot'' (1862) by [[Léo Delibes]], whom he admired, to this list. He probably would have excluded [[Jacques Offenbach]]'s ''Pierrot Clown'', a theater score of 1855.</ref> Even the embryonic art of the motion picture turned to Pierrot before the century was out: he appeared, not only in early celluloid shorts ([[Georges Méliès]]'s ''The Nightmare'' [1896], ''The Magician'' [1898]; [[Alice Guy]]'s ''Arrival of Pierrette and Pierrot'' [1900], ''Pierrette's Amorous Adventures'' [1900]; Ambroise-François Parnaland's ''Pierrot's Big Head/Pierrot's Tongue'' [1900], ''Pierrot-Drinker'' [1900]), but also in [[Emile Reynaud]]'s [[Praxinoscope]] production of ''[[Pauvre Pierrot|Poor Pierrot]]'' (1892), the first animated movie and the first hand-colored one.