Numerous artists focused on the theme of circus performers in their paintings. Some of the most noted European painters like Toulouse-Lautrec, Renoir, Seurat, Picasso, Bernard Buffet, Fernand Leger were frequently captivated by this topic; likewise some mid-century American artists such as Aaron Bohrod, John Sloan, Edward Hopper, Robert Vickrey, Emil Kosa, and Hans Mollar found inspiration like Russin in the circus.
George Russin’s artwork frequently features clowns as a central theme. His fascination with circus performers, shared by my father, stemmed from a time when readily available entertainment was scarce. And I have a personal connection, having lived in Bailey’s Crossroads, VA, a neighborhood founded by Hachaliah Bailey, whose early American circus eventually evolved into the famed Ringling Brothers and Barnum and Bailey Circus.
The circuses of the past were characterized by massive tents hosting highwire acts, exotic animals and their trainers, daring stunts, and crucially, clowns. Comedy is the essence of a clown’s act, demanding a prominent place in the overall performance. Clowns use their exaggerated clothing, makeup, antics, and superficial gags to elicit laughter. While a clown’s performance—full of improvisation, teasing, trickery, and ad-libs—appears spontaneous to the audience, it is, in fact, a deeply studied, rehearsed, and meticulously timed routine, often resulting in roaring approval as one clown suffers indignity at the hands of another.
Russin saw an identical role for the clown and the artist: to entertain the audience. Throughout his career, he found inspiration in the transformation of the ordinary person into the clown. The application of grease paint, the wig, the bright costume, and the oversized shoes marks the beginning of the portraitist's work. Russin interpreted the clown as a complete actor-showman, masked from head to toe, rather than an ordinary individual.
In his painting, "The Juggler," Russin strengthens the composition by positioning two clowns: one a direct portrait, the other partially turned away, appearing to observe. The primary subject is clearly established through its central placement, size, and the dominant red paint, wig, jacket, and nose. The central figure has a melancholy or sad expression, possibly referencing "Weary Willie," the hobo-tramp clown character created by Emmett Leo Kelly. Regardless of the specific inspiration, the painting clearly depicts a clown capable of juggling colored balls in a rhythmic pattern. The presence of round spotlights suggests the clowns are mid-performance. The composition may serve as a metaphor for the enduring maxim, "the show must go on," in both good times and bad.
Having served in WWII and witnessed the Holocaust firsthand, Russin possessed a worldview deeply rooted in tragedy and an understanding of hypocrisy. In his art, the businessman ultimately deceives only himself, the leader (like Hitler) is destined to fail, the priest or pastor succumbs to temptation, and the politician cheats and lies to their constituents. Even the constituents support the destruction of democracy against their better judgment. It is only the clown, in his professional role, who is truly a clown. The rest are merely "nitwit fools," yet, as the artist implies, the folly—the show—must go on.
It is necessary to point out the lack of due diligence regarding Russin's biographical data, as information is often copied and posted online without verification. Furthermore, George Russin is not included in Falk's comprehensive "Who was Who in American Art," and specific educational records remain unconfirmed.
©2026. Waller-Yoblonsky Fine Art is a research collaborative, working to track artists that got lost and overlooked due to time, changing styles, race, gender and/or sexual orientation. Our frequent blogs highlight artists and art movements that need renewed attention with improved information for the researcher and art collectors. The photos and blog was created by Mr. Waller and all written materials were obtained by the Fair Use Section 107, of The Copyright Act. #georgerussin #georgerussinartist
#walleryoblonskyfineartblog #walleryoblonskyblog
George Russin’s artwork frequently features clowns as a central theme. His fascination with circus performers, shared by my father, stemmed from a time when readily available entertainment was scarce. And I have a personal connection, having lived in Bailey’s Crossroads, VA, a neighborhood founded by Hachaliah Bailey, whose early American circus eventually evolved into the famed Ringling Brothers and Barnum and Bailey Circus.
The circuses of the past were characterized by massive tents hosting highwire acts, exotic animals and their trainers, daring stunts, and crucially, clowns. Comedy is the essence of a clown’s act, demanding a prominent place in the overall performance. Clowns use their exaggerated clothing, makeup, antics, and superficial gags to elicit laughter. While a clown’s performance—full of improvisation, teasing, trickery, and ad-libs—appears spontaneous to the audience, it is, in fact, a deeply studied, rehearsed, and meticulously timed routine, often resulting in roaring approval as one clown suffers indignity at the hands of another.
Russin saw an identical role for the clown and the artist: to entertain the audience. Throughout his career, he found inspiration in the transformation of the ordinary person into the clown. The application of grease paint, the wig, the bright costume, and the oversized shoes marks the beginning of the portraitist's work. Russin interpreted the clown as a complete actor-showman, masked from head to toe, rather than an ordinary individual.
In his painting, "The Juggler," Russin strengthens the composition by positioning two clowns: one a direct portrait, the other partially turned away, appearing to observe. The primary subject is clearly established through its central placement, size, and the dominant red paint, wig, jacket, and nose. The central figure has a melancholy or sad expression, possibly referencing "Weary Willie," the hobo-tramp clown character created by Emmett Leo Kelly. Regardless of the specific inspiration, the painting clearly depicts a clown capable of juggling colored balls in a rhythmic pattern. The presence of round spotlights suggests the clowns are mid-performance. The composition may serve as a metaphor for the enduring maxim, "the show must go on," in both good times and bad.
"The Juggler"
Mixed-Media on Masonite
18" x 18"
Signed LRC: Russin '08
George Russin's artistic mastery is immediately apparent in this multi-layered composition, skillfully executed with a simple lead pencil on a white, gessoed Masonite board. He employs a one-point perspective for the background and utilizes the pencil lead to create shade and dimension for the figures and objects. Circles are a dominant motif throughout the work, seen in the obvious balls and spotlights, as well as the clown’s bulbous nose and shirt buttons. Russin highlights these circular and oval shapes with opaque colors, then applies a shellac finish to preserve the artwork and prevent the lead from smearing. This piece powerfully showcases his "drawing authority," rendered with confidence as his pencil lines vigorously mark the gessoed panel.Having served in WWII and witnessed the Holocaust firsthand, Russin possessed a worldview deeply rooted in tragedy and an understanding of hypocrisy. In his art, the businessman ultimately deceives only himself, the leader (like Hitler) is destined to fail, the priest or pastor succumbs to temptation, and the politician cheats and lies to their constituents. Even the constituents support the destruction of democracy against their better judgment. It is only the clown, in his professional role, who is truly a clown. The rest are merely "nitwit fools," yet, as the artist implies, the folly—the show—must go on.
Research and Documentation:
- Born in New York (Bronx) 1 Dec. 1923; info from Family Search Organization
- Attended The High School of Music and Art to pursue both fields of study.
- Awarded St. Gaudens Medal for Art plus a scholarship to Pratt Institute.
- Drafted into the army service during World War II, Draft Registration Paperwork - 30 June 1942; Family Search Org.
- After the war he devoted his studies entirely to fine art and took advantage of his scholarship.
- Graduated from Pratt, receiving the Bronze Medal for achievement.
- Attended the Art Students' League.
- Exhibited in New York, Boston, and Beverly Hills; additionally La Napoule Art Foundation of France purchased two of his paintings for their collection - The Foundation website has one Russin painting with a gift plaque stating that it was a gift to the Foundation by Natalie Clews Spencer, 1956, which he must have painted when he was 33.
- Exhibited frequently with Gimble's 'The Little Studio' and had an exhibit with Martin Galleries, Inc.
- He traveled extensively.
- Died in Miami 13 Dec. 2010, age 87; info from Social Security Records.
It is necessary to point out the lack of due diligence regarding Russin's biographical data, as information is often copied and posted online without verification. Furthermore, George Russin is not included in Falk's comprehensive "Who was Who in American Art," and specific educational records remain unconfirmed.
Comments by Journalists:
- "His semi-abstract manner is rooted in realism. A shattering of the surface into many small planes does not disturb the essential contours. He has worked out a personal means of expression, and the planes are replaced by dabs of color to give a flickering vibrant quality." - Art News
- "Russin's paintings' shoe intelligence in interplay." - Carlyle Burrows - NY Herald Tribune
- "Mr. Russin builds up sensuous glazed surfaces in oils through a deft handling of the palette knife; he is a painter of talent..." - Robert Taylor - Boston Sunday Herald
- Kilgallen, Dorthy, Voice of Broadway, Gossip in Gotham, Gimbel’s Little Studio, The Record-Argus, Greenville, PA, Monday, Sept. 28, 1953, Pg. 7. Ms. Kilgallen states: “Gimbel’s Little Studio, Artist George Russin who’s paintings of Jazz musicians, ballet dancers and clowns are the autumn sensation at Gimbel’s Little Studio. He gets his own musical inspiration right in his own family. His cousin, Babe has been a tenor sax star with such key figures in swing history as Benny Goodman and Red Nichols, and another cousin, Jack Russin, traveled for years with Martha Raye as her accompanist.”
- Dietz, Betty A; Art Editor, Music & Art- Circulating Gallery Exhibit is Pleasing (The Dayton Art Institute), Society Section, The Dayton Daily News, Dayton, Ohio, Sunday, Oct. 17, 1954. Ms. Dietz states: “particularly interesting is George Russin’s “The Conductor,” a skillful blending of the abstract and the caricature techniques”.
- Unknown Journalist, Raymond Burr Has Art Gallery, The Daily Reporter, Dover, Ohio, Sat., Nov 4th, 1961, Pg. 23. The article states that: George Russin’s works were displayed at the Raymond Burr Gallery.
- Unknown Journalist, Naples Art Gallery Opens 7th Season, Naples Daily News, Naples, FL, Tues., Nov 23rd, 1971, Pg. 7A. Article states: George Russin was participating in a group show, and was there from Puerto Rico.
- Ft. Lauderdale News & Sentinel, Ft. Lauderdale, FL, Dec. 18, 1977, Pg. 11D - Advertisement for Martin Galleries Inc., special showing of George Russin’s work (below).
- Soler, Alessandra, Staff Writer, Doughnut Shop Nails Down Artist’s Works, Miami Herald, Miami, FL, Mar. 13th, 1997, Pg. 3.
- Smithsonian Library - American Art Museum, Russin, George, Paper File.
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©2026. Waller-Yoblonsky Fine Art is a research collaborative, working to track artists that got lost and overlooked due to time, changing styles, race, gender and/or sexual orientation. Our frequent blogs highlight artists and art movements that need renewed attention with improved information for the researcher and art collectors. The photos and blog was created by Mr. Waller and all written materials were obtained by the Fair Use Section 107, of The Copyright Act. #georgerussin #georgerussinartist
#walleryoblonskyfineartblog #walleryoblonskyblog
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