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Despite the activity in the piece, however, the artist's placing of his figures lends a degree of formality and static to his piece.
His decision to only depict people facing sideways or straight on makes the entire scene seem very rigid and like toy soldiers, which was a criticism leveled against the artist at the time. Color palette: Seurat utilizes this blending technique through his use of shadows. In traditional painting, shadows are primarily represented by the color black. Following the principles of pointillism, Seurat is able to define his shadows by the color that they come into contact with.
The skirts of the women provide the best examples for this. The clothing of the women in the center of the piece seems to be casting a blue shadow on the ground. Seurat's shadows here are not being defined by traditional means but are instead a combination of the colors in its proximity. Here the mix of green provides a blue shadow, which does not follow the conventions of shadow casting. Such a different approach in the creation of shadows is repeated in the dress of the woman on the right.
Where the mix of light and green casts a yellow halo for the trees the same effect is mimicked here. The woman's dress creates a slight yellow line before the onset of the shadow and this yellow hue can be seen particularly towards the back of her skirt.
Furthermore, the shadow of her dress is a slight shade of blue as Seurat's green grass dots intermingle with the dress' blue and purple dots. Use of light: Seurat's use of light is one of the unique points of the piece.
The work is vibrantly portrayed and the magnificence of the sun bathes the scene's inhabitants in a celestial mid-afternoon glow. Where the technique of pointillism shows its unique aspect is where the light from the left comes into contact with people and objects in the piece. The blend of such colors is pointillism's primary concern and as its founder Seurat's work epitomizes the technique.
The tree line at the top of the painting is one example of such a blended effect. The luminous bright white day to the upper left section of the piece steadily becomes less and less white until it blends seamlessly with the vibrant greens of the trees leaves. Seurat's technique means that such tiny dots of white are placed next to dots of green until the relevant effect is actualized.
The mix of white and green creates a halo like yellow in parts before it turns fully into green. Seurat's technique in this regard directly matches the color wheel which influenced his work immeasurably. Here the color green blends into the color yellow as the lightest color on the wheel.
Perspective: Most of the figure's view is focused on the river to the left of the image. Despite the river comprising of only a small part of the painting, its busy portion draws the viewer's gaze.
The figures at the front are also very close to the viewer, making the woman's dress in the front of the piece purposefully enlarged. Her and the man walking with her are the biggest figures in a painting of immense proportions and their size balances this work. As with many bold new artistic movements or styles pointillism was regarded with a great deal scorn upon its exhibition. The painting style was like nothing that had come before it and much of the general public and art critics viewed it negatively view.
A Sunday Afternoon on the Island of La Grande Jatte was the first painting of its kind to be painted entirely in the pointillism style and it was on the frontline with regards to both the advancement of Georges Seurat's new painting technique and the Impressionist movement as a whole. Contemporary critical reception: Upon the exhibition of Grande Jatte in , it was the single most notorious canvas among all of the exhibited pieces.
When he painted this work, Georges Seurat was a mere year-old who had only seven more years to live. He was an ambitious young man with a scientific theory to prove, something totally unique for the elite of the modern art world. Seurat's theory was an optical one - he had the conviction that painting in dots was able to produce a brighter color than painting in strokes.
Seurat claimed he sat in the park for hours upon hours, creating numerous sketches of the various figures in order to perfect their form before he even thought about starting the actual painting. Extremely disciplined and private to the point of almost complete secretiveness, Georges Seurat concentrated primarily on issues of color , light and form. Gustave Kahn often spoke about how Georges used the Panathenaic procession in the Parthenon frieze as the main visual model for this work - yet, there was not a lot of classical in the completed painting.
A Sunday Afternoon on the Island of La Grande Jatte was initially started in with a layer of small horizontal brushstrokes of complementary colors. Seurat later added small dots that appear as solid and luminous forms when seen from a long enough distance.
This was the way he spectacularly proved his theory, showing that employing tiny juxtaposed dots of multi-colored paint really can allow the viewer's eye to blend colors optically. This turned out to be a revolutionary alternative to the way traditional painters went about defining forms within their artworks' compositions.
Seurat's use of this highly systematic and near- scientific technique [3] distinguished his art from the endlessly more intuitive approach to painting used by the Impressionists.
Georges may have embraced the subject matter of modern life preferred by artists such as Claude Monet and Pierre-Auguste Renoir , but the way he depicted it on canvas couldn't be any more different from the techniques of his peers.
Georges' technique was subsequently called Pointillism and it's known by that name to this day. However, the painter himself preferred to call his method chromoluminarism , a term he felt better stressed the focus on color and light. Seurat spent over two years painting this picture, concentrating painstakingly on the landscape of the park before turning his focus on the people that will eventually inhabit the composition. However, when the time came to actually start portraying men and women, Georges decided to completely dedicate his efforts to their shapes, and not their personalities.
Individuals never did interest Seurat, only their formal elegance and the way they contributed to the overall perfect balance of the composition. As a result, this high class get-away for the Parisian community appears to be terrifyingly still - although we assume children would be running around and that dogs would be barking, the impression we receive is of silence, of control, of no disorder whatsoever.
Even those who came to this mile-long island in pairs seem alone in their concise form. Whereas the figures in the earlier painting are doused in light, everyone portrayed in A Sunday Afternoon on the Island of La Grande Jatte appears to be cast in shadow, either under trees or an umbrella, or from another person.
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