Word: seurat
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...fine metal lines. Largely because of the intensity of Van Gogh's genius, cloisonism became one of the key modernist styles, the sign of a new concern with the semantics of art (which were being explored in a totally different way by Cezanne in Aix and by Seurat with his light-filled dots), indicating a degree of aesthetic fundamentalism that had not been seen since Ingres...
...Emma Bovary's life was built up, and the minutely articulated jumble of reflections behind the blank-faced nana in Manet's Bar at the Folies-Bergère, 1882. Both works, in a sense, point forward to the "objective," molecular constellations of dabbed light from which Seurat assembled his figures on the speckled lawn of the Grande Jatte. If the origins of one aspect of the avant-garde lie with Courbet, those of the other are to be found in Manet: in detachment and irony, art contemplates its nature as a language, without hope of changing...
...extraordinarily dignified, almost hieratic sense of presence. Under the unifying skin of black paint (ordinary house paint sprayed on the raw wood), the rich accumulations of shape, the curious offcuts and repeated units, are as effectively transmuted into pure shadow as the objects depicted in a painting by Seurat become pure light...
...right that this show should be held in London, since the word post-impressionism was invented there, and applied to the painting of the 1880s by Roger Fry, the English art critic, when he organized a sensationally vilified show of Manet, Van Gogh, Gauguin, Seurat, Cézanne and others at the Grafton Galleries in 1910. By then the painters that Fry's exhibition encircled were all dead, and his name for them was a last resort: he toyed with calling them "expressionists," luckily decided not to, and at last exclaimed, "Oh, let's just call them postimpressionists; at any rate...
Nothing, one would think, could be addressed more purely to the eye than Seurat's divisionism, his way of analytically representing color and light by means of dots of pure pigment, stippled closely together. In front of a painting like The Gravelines Channel, Grand Fort-Philippe, 1890, one.is conscious of nothing but the field of infinite nuances, the chalky light of the marine estuary, the artist's utter absorption in vision itself: this is one of the most exquisite paeans to the discriminatory power of the human eye ever to be set on canvas, far away, one would suppose, from...