Which of the Following Best Describes How Georges Seurat Use the Elements of Art in This Painting?

"Keen things are washed by a series of minor things brought together."

one of v

"Some say they see poetry in my paintings; I see simply science."

two of v

"Originality depends only on the character of the drawing and the vision peculiar to each artist."

3 of 5

"Painting is the art of hollowing a surface."

four of v

"Harmony is the analogy of contrary and similar elements of tone, of color, and of line, conditioned by the dominant primal, and nether the influence of a detail light, in gay, calm, or distressing combinations."

5 of 5

Summary of Georges Seurat

Georges Seurat is chiefly remembered every bit the pioneer of the Neo-Impressionist technique commonly known as Pointillism, or Divisionism, an approach associated with a softly flickering surface of pocket-sized dots or strokes of color. His innovations derived from new quasi-scientific theories about colour and expression, yet the svelte dazzler of his piece of work is explained by the influence of very different sources. Initially, he believed that corking mod fine art would prove contemporary life in ways similar to classical art, except that it would use technologically informed techniques. After he grew more than interested in Gothic art and popular posters, and the influence of these on his piece of work brand information technology some of the first mod art to make use of such unconventional sources for expression. His success quickly propelled him to the forefront of the Parisian advanced. His triumph was short-lived, as later barely a decade of mature work he died at the historic period of merely 31. But his innovations would be highly influential, shaping the work of artists as diverse as Vincent Van Gogh and the Italian Futurists, while pictures like Sunday Afternoon on the Island of La M Jatte (1884) have since become widely popular icons.

Accomplishments

• Seurat was inspired by a desire to abandon Impressionism'due south preoccupation with the fleeting moment, and instead to return what he regarded as the essential and unchanging in life. Nevertheless, he borrowed many of his approaches from Impressionism, from his dear of modern subject matter and scenes of urban leisure, to his desire to avoid depicting only the 'local', or apparent, colour of depicted objects, and instead to try to capture all the colors that interacted to produce their advent.
• Seurat was fascinated past a range of scientific ideas about color, form and expression. He believed that lines tending in certain directions, and colors of a particular warmth or coolness, could take particular expressive effects. He also pursued the discovery that contrasting or complementary colors can optically mix to yield far more than brilliant tones that can be achieved by mixing paint lone. He chosen the technique he developed 'chromo-luminism', though it is better known as Divisionism (after the method of separating local color into separate dots), or Pointillism (after the tiny strokes of paint that were crucial to achieve the flickering effects of his surfaces).
• Although radical in his techniques, Seurat's initial instincts were conservative and classical when it came to style. He saw himself in the tradition of not bad Salon painters, and thought of the figures in his major pictures nearly as if they were figures in monumental classical reliefs, though the subject matter - the dissimilar urban leisure pursuits of the bourgeois and the working course - was fully modern, and typically Impressionist.
• In Seurat's later work he left behind the at-home, stately classicism of early pictures like Bathers at Asnières, and pioneered a more dynamic and stylized approach that was influenced by sources such equally caricatures and popular posters. These brought a powerful new expressiveness to his work, and, much afterwards, led him to be acclaimed by the Surrealists as an eccentric and a bohemian.

Biography of Georges Seurat

"Some say they come across poetry in my paintings; I encounter only science" was what Seurat said and his development equally an artist was a similar progression away from the scenic and emotional, and into the calculated and analyzed.

Important Art by Georges Seurat

Progression of Art

1884

Bathers at Asnières

Seurat'southward first important canvas, the Bathers is his initial attempt at reconciling classicism with modernistic, quasi-scientific approaches to color and form. Information technology depicts an area on the Seine near Paris, close to the factories of Clichy that one can run across in the distance. Seurat's palette is somewhat Impressionist in its brightness, yet his meticulous arroyo is far removed from that style's honey of expressing the momentary. The scene's intermingling of shades also demonstrates Seurat's involvement in Eugene Delacroix's handling of shades of a unmarried hue. And the working-course figures that populate this scene marking a sharp contrast with the leisured bourgeois types depicted past artists such as Monet and Renoir in the 1870s.

Oil on canvas - The Fine art Institute of Chicago

1884-86

Sunday Afternoon on the Island of La Grand Jatte

Seurat's Sunday Afternoon on the Isle of La Grand Jatte was one of the stand-out works in the 8th and last Impressionist exhibition, in 1884, and later it was shown later on that year, at the Sociéte des Artistes Indépendents, it encouraged critic Félix Fénéon to invent the proper name 'Neo-Impressionism.' The motion-picture show took Seurat two years to complete and he spent much of this time sketching in the park in preparation. It was to become the most famous picture of the 1880s. Once once more, every bit in Bathers, the scale of the moving-picture show is equal to the dimensions and ambition of major Salon pictures. The site - again situated on the Seine in northwest Paris - is also close by. And Seurat's technique was similar, employing tiny juxtaposed dots of multi-colored paint that allow the viewer's centre to blend colors optically, rather than having the colors blended on the sail or pre-composite equally a material pigment. The artist said that his ambition was to "make modern people in their essential traits move about every bit they exercise on [ancient Greek] friezes and place them on canvases organized by harmonies." Just the classicism of the Bathers is gone from La Grand Jatte; instead the scene has a decorated free energy, and, as critics accept often noted, some of the figures are depicted at discordant scales. It marked the get-go of a new primitivism in Seurat's piece of work that was inspired in office past pop art.

Oil on canvas - The Art Establish of Chicago

1888

La Seine à la Grande-Jatte

La Seine à la Grande-Jatte of 1888 shows the artist returning to the site of his most famous painting - A Sun on La Grande Jatte painted 2 years prior. This later limerick demonstrates Seurat's connected interest in form and perspective, only reveals a much softer and more than relaxed technique than La Grande Jatte. The soft atmosphere is made up of a myriad of colored dots that mix optically to mimic the furnishings of a luminous summer 24-hour interval.

Oil on canvas - Royal Museums of Fine Arts of Kingdom of belgium, Brussels

1888-ninety

Young Woman Powdering Herself

Young Woman Powdering Herself is a portrait of Seurat's mistress Madeleine Knobloch. It is an adoring likeness that jokingly contrasts the classical monumentality of the effigy against the flimsy Rococo frivolity of the setting. Information technology is also strongly marked past Seurat's increasing involvement in caricature and pop art, sources which lent a new expressiveness to his work which accorded with the growing contemporary interest in Symbolism. Knobloch was a working-form woman with whom Seurat maintained a long-term surreptitious relationship, keeping her separate not only from his bourgeois family only also from his bohemian friends. When the painting was shown in 1890, her identity remained curtained. Knobloch was given some of Seurat'due south paintings as an inheritance merely she cut off all communication with his family afterward his decease.

Oil on canvass - The Courtauld Gallery, London

1887-88

Circus Sideshow

Circus Sideshow is considered one of Seurat'southward major figure paintings. Yet it is much more condensed than his other mural-size paintings. This was Seurat'south first nocturnal painting and information technology debuted at the 1888 Salon des Indépendants in Paris. It depicts a ringmaster and musicians under twinkling gaslight who are attracting a crowd of potential ticket buyers. The composition was drawn from on-site sketches he made in the spring of 1887, when Frenand Corvi's traveling circus performed in Paris (it appeared regularly in Paris between the 1870s and the Outset World War). Though Seurat often attended circus-like events in his leisure time, this painting was the get-go of import picture Seurat dedicated to a scene of popular entertainment. The design of circles, ovals, and rectangles in the background has attracted much discover from critics, as many of the forms are hard to explain in terms of the structure of the setting. It has been argued that they derive from Seurat'south understanding of various gimmicky theories of expression, which advocated the utilise of particular forms and colors to convey particular types of emotion.

Oil on canvas - The Metropolitan Museum of Art, New York

1890-91

The Circus

Seurat's early on paintings often feature a remarkable stillness, even with complex figure compositions, but The Circus features a scene of dynamic movement, and is typical of his tardily style. The scene is borrowed from an anonymous affiche for the Nouveau Cirque, printed in 1888, although the horse and bareback passenger take been reversed. The figure in the first row of seats, with a silk hat and a lock of hair visible under it, is the painter Charles Angrand, a friend of Seurat's. This painting was Seurat'southward last, and was left unfinished when he died suddenly in March of 1891. It was sold shortly thereafter to his friend Paul Signac.

Oil on sheet - Musée d'Orsay, Paris

Similar Fine art

Influences and Connections

Influences on Artist

Influenced by Artist

Useful Resources on Georges Seurat

Books

websites

articles

video clips

More than

Books

The books and articles below establish a bibliography of the sources used in the writing of this page. These as well suggest some accessible resources for farther research, especially ones that tin exist found and purchased via the internet.

biography

• Seurat: A Biography

  By John Rewald

• Georges Seurat, 1859-1891: The Master of Pointillism (Basic Art)

  Past Hajo Duchting

• Seurat (World of Fine art) Our Pick

  Past John Russell

artworks

• Georges Seurat (Rizzoli Fine art Serial)

  By Norma Broude

• Seurat and the Making of 'La Grande Jatte' Our Pick

  By Robert L. Herbert, Neil Harris

• Georges Seurat 1859-1891

  By Robert Fifty. Herbert

• Georges Seurat: The Drawings Our Option

  By Jodi Hauptman, Karl Buchberg, Hubert Damisch, Bridget Riley, Richard Shiff, and Richard Thomson

• Georges Seurat: The Art of Vision

  Past Michelle Foa

• Masters of Art: Seurat Our Pick

  Past Pierre Courthion

• Seurat'southward Circus Sideshow

  By Richard Thomson

• Ways of Pointillism: Seurat, Signac, Van Gogh

  By Klaus Albrecht Schröder

• The Science of Art: Optical Themes in Western Fine art from Brunelleschi to Seurat

  By Martin Kemp

Content compiled and written by The Art Story Contributors

Edited and revised, with Summary and Accomplishments added by Alexandra Duncan

"Georges Seurat Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and revised, with Summary and Accomplishments added past Alexandra Duncan
Bachelor from:
First published on 22 Jan 2012. Updated and modified regularly
[Accessed ]

smithwerflefougs.blogspot.com

Source: https://www.theartstory.org/artist/seurat-georges/

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