|
|
|
|
|
|
Georges Seurat
Model
Profile View,1887(Salon des Independants,1890)
9 3/4'' x 6 1/4''(25 x 16 cm)
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
The Circus
1891(Salon des Independants,1891)
6' 1'' x 5'(185.5 x 152.5 cm)Bequest of John Quinn,1924
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Model,Front View (mk09)
1887
(study for "The Models")
Oil on panel,26 x 17 cm
Paris,Musee d'Orsay
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Bathers at Asnieres (mk09)
c 1883/84
Oil on canvas,201 x 301.5 cm
London,National Gallery
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Sunday Afternoon of the Island of La Grande Jatte (mk09)
1884-1886
Oil on canvas,206.4 x 30.4 cm
Chicago(IL),The Art Institure of Chicago
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Sunday Afternoon on the island of the Grande Jatte (nn03)
1884-6 Oil on canvas 202 x 300 cm 81 x 120 1/2 in Art Institute of Chicago Chicago IL
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Bathing at Asnieres (mk35)
1883-1884
Une baignade a Asnieres
Oil on canvas 201 x 301.5 cm
Tate Gallery London
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
A Sunday on La Grande jatte (mk39)
81 3/4x121 1/4in
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Port-en-Bessin,Entrance to the Harbor
mk68
Oil on canvas
New York
Museum of Modern Art
1888
France
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
The Circus
mk68
Oil on canvas
Paris,Orsay Museum
1890-1891
France
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Model
mk87
Front View 1887
Oil on panel
26x17cm
Paris,Musee d'orsay
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Sunday Afternoon on the Island of La Grande Jatte
mk87
1884-1886
Oil on canvas
206.4x305.4cm
Chicago
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Bathers at Asnieres
mk87
c.1883/84
Oil on canvas
201x301.5cm
London,National Gallery
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Port-en-Bessin,Les Grues et la Percee
mk94
1888
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Etude pour Moyenne Distance,gauche,avec Bateau a Voile
mk94
1884-86
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Study for Le Bec du Hoc,Grandcampe
mk103
1895
Oil on panel
15.6x24.5
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Head Portrait of the Girl
mk106
about 1879
28.8x24.1cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Excavation Worker
mk105
about 1882
14.5x24cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Personality in the Landscape
mk106
1882
15.7x25cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Georges Seurat
Piling Farmer
mk06
about 1882
15x25cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
| Georges Seurat
|
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.
|
