Many visual texts attempt to convey a discernible message to spectators. This is done when details are included within the ‘text’ that can be established, interpreted, and directed towards a specific implication. These implications can be difficult to interpret if the details are more abstract. Sometimes, the intent of a visual text is not to imply meaning whatsoever, but to simply depict beauty and leave its spectators in awe not by abstraction, but by shear creation. However, visual texts such as these can still be analyzed in an abstract manner. Doing so can help define the qualities within the ‘text’ that evoke certain feelings within the spectator. One can even attempt to discern a meaning from an otherwise ‘meaningless’ piece of art, that of the painting of a circus. Meaning can be derived from anything in this fashion. However, its best to analyze every detail of the piece, significant as well as seemingly insignificant ones. Only then can one encompass themselves with the tools necessary to develop a deeper perception. The painting of the circus serves as a good example of a visual text that seems to be void of evidence that could be used to derive any form of abstract implication.

This painting depicts what appears to be a circus that is set in an arid landscape. It seems to depict a time in the evening, near sunset. To the right and left there are trees that appear to be dead. The circus itself doesn’t seem to be very expansive and seems to be quite small within its picket fence enclosure. From the spectator’s perspective on the circus, the Ferris wheel towers over the other structures within the enclosure. The only living things depicted in the painting is a lizard in the bottom left corner and several birds in the sky. Circuses are known for containing large crowds, yet no people are seen in the painting. Other structures are also present, such as a circus wagon, tents, a tower off in the distance, a swing carousel, and perhaps the most significant, a hot air balloon. These observations serve as the key aspects of the piece. However, to derive meaning, one should make micro observations within each of these aspects. It’s likely best to begin with the environment the circus is set in. 

Although it isn’t truly determinate that the painting depicts a sunset instead of a sunrise, we can still assume that it’s a sunset because a sunrise would illuminate more of the landscape. The sky has a blue haze with a hint of purple. This portion of the sky rigidly merges with and orange section and becomes brighter as it reaches the horizon. The clouds within this section are illuminated brightly while the other clouds are dark, save for a gap in the large cloud to the right where ‘light’ is breaking through. The landscape appears very dry like a desert. In the distance, one can see hills and mountains behind the circus. The trees appear dead and warped, adding to the dark feeling conveyed by the relatively dark sky and clouds. The object sitting next to the tree on the right looks much like a tumbleweed at first glance, but can be dismissed as only a shrub. The merging of colors within the sky can be foreboding to some, for a sunset eventually becomes completely dark. 

As mentioned before, the circus itself seems relatively small and void of life. Sense the spectator is not provided a top-down view or aerial view, the size of the circus is indeterminate, however, sense we only see a few structures tall enough to be visible aspects of the painting, we can assume that the circus is not very large. The attraction to the far right is a swing carousel shaped like an upside-down toy spinner. Upon closer inspection, one notices that its swings are all empty. To the left of the swing carousel in the distance, we see a tall, cone-shaped tower with a spiral staircase on the exterior leading to the top. Above this tower, there appears to be 4 floating specks that are likely birds circling the tower, for they share the same pigmentations as the other birds in the painting. Behind the entrance, there are various circus tents of different sizes and shapes. Many have flags at their peaks. To the left, there is a striped circus wagon. The door leading inside the wagon has what seems to be an advertising sign above it. The window on its left reveals that there is light coming from the inside. One can only wonder about what’s inside. One can venture to guess that perhaps there is a fortune-teller within. Behind the wagon, there is a large wooden Ferris wheel. It’s size relative to other aspects of the painting make it seem like the paintings ‘centerpiece’. When first looking at the painting, the onlooker’s gaze is likely to fall on the Ferris wheel among all else. On its spokes are what seem to be light bulbs that are illuminated. When inspecting its seats, one can notice that the heads of people are not showing and they appear to be empty. To the left, there is an inflated hot-air balloon resting on the ground. The hot-air balloon creates a sense of adventure and freedom to the spectator; however, it is likely tied down and is only meant for rides that are on a ‘leash’. This contrasts with the depiction of the birds who are truly free, though captured in a painting. The entrance has a banner that reads ‘CIRCUS’. Near the entrance, one can observe multiple signs that seem to advertise various attractions within the circus. On the trail leading to the entrance, impressions made in the dirt can be seen, impressions that were likely made by the wheels of a wagon or carriage. These things are ironic because the signs are meant to communicate to people, yet there are no people to look at them. The tracks on the trail imply that people traveled to or from the circus, yet no people are visible.

The combination of dark and bright colors can evoke a mysterious feeling within the spectator. Much of the setting is dark and conveys a sad connotation while the connotation behind a circus is typically happy and joyful. The combination of these two connotations result in an eerie tone within the piece. This tone is reinforced by the absence of people in the circus. Such blends of emotion can be exemplified through music, another form of art. When composing a piece of music, one can combine major and minor chords or phrases to evoke a mixed range of emotion in the listener. This is why “tonal color” is a legitimate term in both visual art and musical composition. 
