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Georges Seurat
Sunday Afternoon on the Island of La Grande Jatte
1886
Art Institute of Chicago
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Georges Seurat
Bathing at Asniers
1884
National Gallery, London
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Georges Seurat
The Siene at La Grande Jatte
1888
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Georges Seurat
The Circus
1890-91
Musee d'Orsay, Paris
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Georges Seurat
Young Woman Powdering Herself
1888-90
Courtauld Institute, London
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Georges Seurat
Le Chahut
1889-90
Kroller-Muller Museum, Otterlo
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Georges Seurat
Port en Bessin, Sunday
1888
Kroller-Muller Museum, Otterlo
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Georges Seurat
The Eiffel Tower
1889
The Fine Arts Museum of San Francisco
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Georges Seurat
La Parade
1888
Metropolitan Museum of Art, New York
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Georges Seurat
Les Poseuses
1886-88
The Barnes Foundation, Merion, PA
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Georges Seurat
Port en Bessin, Sunday
1888
Kroller-Muller Museum, Otterlo
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Georges Seurat
La Parade
1888
Metropolitan Museum of Art, New York
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Georges Seurat
Les Poseuses
1886-88
The Barnes Foundation, Merion, PA
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Georges Seurat
Study for A Bathing Place at Asnieres
1883
6'' x 9 3/4''(15.5 x 25 cm)Gift of Baroness Eva Gebhard-Gougaud,1965
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Georges Seurat
Study for A Sunday on the Grande Jatte
1884-1885
6'' x 9 3/4''(15.5 x 25 cm)Gift of Therese and Georges-Henri Riviere,1948
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Georges Seurat
The Little Peasant in Blue
The Jockey
ca 1882
1' 6'' x 1' 3''(46 x 38 cm)Gift of Robert Schmit,1982
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Georges Seurat
Study for The Circus
1891
1' 9 3/4'' x 1' 6''(55 x 46 cm)
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Georges Seurat
Port-en-Bessin
Outer Harbor,High Tide,1888
2' x 2' 8 1/4''(61 x 82 cm)
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Georges Seurat
Model
Back View,1887
9 3/4'' x 6''(24.5 x 15 cm)
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Georges Seurat
Model
Front View,1887(Salon des Independants,1887)
9 3/4'' x 6 1/4''(25 x 16 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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