Word: seurat
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Dates: during 1960-1969
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...exhibition of 1901. In addition, portraits such as L'Enfant Madeline betray a vestigial debt to Renoir's child portraits, while the pointillistic detail and balanced composition of Vue de Chatou suggest more than a few hours spent in the galleries studying the neo-impressionist work of Seurat and Signac...
Because of the large number of paintings in the exhibition, some limitation of focus is helpful in their evaluation. One approach is to concentrate on the Blocks' very rich collection of portraits, including Degas' distant "Young Man with a Hat," Seurat's study for a "Woman Powdering Herself," the famous Matisse "The Young Sailor" (version two) and the even better-known van Gogh "Self-Portrait," showing his bandaged ear. In addition, there are three sensitive Vuillards, one a "Portrait of the Artist's Mother" in a style set between the thick modelling of Manet and the pointillist inheritance of Impressionism...
Thanks to Chicago grandmothers like Mrs. Potter Palmer, the impressionist-loving grande dame of Chicago society in the 1890s, to say nothing of grandfathers like Hardware Heir Frederic Clay Bartlett, who gave the museum Seurat's La Grande Jatte, the Art Institute today is the possessor of a 19th century impressionist and postimpressionist collection among the best in the U.S. Under rangy (6 ft. 2 in., 195 Ibs.), Harvard-honed Charles C. Cunningham, 57, who took over as director a year ago after 20 years at Hartford's Wadsworth Atheneum, the museum has hewed to a policy...
...foreshadows the pointillism of La Grande Jatte. Gustave Caillebotte's huge (7 ft. by 9 ft.), damply breathtaking Place de I'Europe on a Rainy Day sheds light from a different angle; the wealthy Parisian civil engineer, dealing with a similar promenade scene only seven years before Seurat, builds his woman's figure with much the same solidity, but he toys with reflected light on umbrellas, cobblestones and in the boulevards more realistically than did the later impressionists. Last week the museum unveiled a Rubens Holy Family, depicting Jesus and Mary with Joseph, the infant St. John...
...earliest antecedents of this breakdown of the spatial illusion in painting are the pointillist pictures of the late nineteenth century -- particularly Seurat and Signac. They tried to break down the illusion of space by treating the frame with the same minute dots of color which cover the background of the pointillist canvas. As a result, the frame fuses with the canvas, giving the impression of no frame...