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Georges Seurat
The river Seine at La Grande-Jatte
Date 1888(1888)
Medium Oil on canvas
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Georges Seurat
Knabe mit Pferd
Date 1883(1883)
Medium Oil on wood
Dimensions Deutsch: 15,9 x 24,8 cm
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Georges Seurat
Sitzender Mann
c. 1883(1883)
Medium Oil on wood
Dimensions 17 x 26,5 cm
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Georges Seurat
Grassy Riverbank
1881-1882
Medium 32 x 41 cm
Dimensions Oil on canvas
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Georges Seurat
Der Kanal von Gravelines
1890(1890)
Medium oil on canvas
Dimensions 73 x 93 cm
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Georges Seurat
Die beiden Ufer
c. 1883(1883)
Medium oil on panel
Dimensions Deutsch: 15 x 24,8 cm
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Georges Seurat
The Outer Harbor
1888(1888)
Medium oil on canvas
Dimensions 21 3/8 x 26 1/4 in. (54.3 x 66.7 cm)
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Georges Seurat
Die Rede von Grandcamp
1885(1885)
Medium oil on canvas
Dimensions Deutsch: 65 x 81,2 cm
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Georges Seurat
Frau mit Sonnenschirm
1884(1884)
Medium oil on canvas
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Georges Seurat
The river Seine at La Grande-Jatte
1888(1888)
Medium oil on canvas
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Georges Seurat
Morgenspaziergang
1885(1885)
Medium oil on panel
Dimensions Deutsch: 24,9 x 15,7 cm
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Georges Seurat
Die Seine bei Courbevoie
1885(1885)
Medium oil on canvas
Dimensions 81 x 65 cm
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Georges Seurat
Einfahrt zum Hafen Port-en-Bessin
1888(1888)
Medium oil on canvas
Dimensions 54,9 x 65,1 cm
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Georges Seurat
Ein Abend in Grandcamp
1885(1885)
Medium oil on canvas
Dimensions 66,2 x 82,4 cm
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Georges Seurat
Weibes und schwarzes Pferd im Flub
c. 1883
Medium oil on panel
Dimensions Deutsch: 15 x 24,8 cm
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Georges Seurat
Port en Bessin
1888(1888)
Medium oil on canvas
Dimensions 76 x 82 cm
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Georges Seurat
Die Frau mit der Puderquaste
1889-1890
Medium oil on canvas
Dimensions 94,2 x 79,5 cm
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Georges Seurat
The Maria at Honfleur
1886(1886)
Medium oil on canvas
Dimensions 53 x 63.5 cm
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| Georges Seurat
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French Pointillist Painter, 1859-1891
Georges-Pierre Seurat (2 December 1859 ?C 29 March 1891) was a French painter and draftsman. His large work Sunday Afternoon on the Island of La Grande Jatte, his most famous painting, altered the direction of modern art by initiating Neo-impressionism, and is one of the icons of 19th century painting
Seurat took to heart the color theorists' notion of a scientific approach to painting. Seurat believed that a painter could use color to create harmony and emotion in art in the same way that a musician uses counterpoint and variation to create harmony in music. Seurat theorized that the scientific application of color was like any other natural law, and he was driven to prove this conjecture. He thought that the knowledge of perception and optical laws could be used to create a new language of art based on its own set of heuristics and he set out to show this language using lines, color intensity and color schema. Seurat called this language Chromoluminarism.
His letter to Maurice Beaubourg in 1890 captures his feelings about the scientific approach to emotion and harmony. He says "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of color and of line, considered according to their dominance and under the influence of light, in gay, calm or sad combinations".
Seurat's theories can be summarized as follows: The emotion of gaiety can be achieved by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm is achieved through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness is achieved by using dark and cold colors and by lines pointing downwards.
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