Georges-Pierre Seurat (1859 - 1891) was a French artist.
Grey weather, Grande Jatte
Seurat was the innovator of pointillism as a style of painting. His most famous works include Sunday on the Island of Grand-Jatte on which a musical (Sunday in the Park with George) by Stephen Sondheim was based.
Today, a painting by Georges Seurat can sell for over $50 million dollars.
NOTES ON THE PICTURE:
By his own description, Seurat set out to discipline the creation of paintings through the systematic application of carefully calculated formulas concerning color, composition, and line, which superseded those works of the older generation of Impressionists.
This picture shows a dull, overcast summer's day on the Grande Jatte, devoid of the rowers, boaters, and fun seekers who populate the 1886 painting, which contains some forty figures. The idle boats are tied up to the mooring posts driven into the shallows along the bank: a little sailboat on the far left; two punts with pennants (perhaps from their rowing clubs) fluttering from the mooring poles; and a steam-powered craft firmly secured between two other poles, its dinghy tied up separately.
The view across the gently flowing river to the suburb of Courbevoie behind a concrete embankment is framed by the trees of the island. A path worn on the grass moves strongly across the foreground, the boldness of its diagonal somewhat dissipated as it weaves in and through the little grove of trees on the left. The surface of the painting is densely, but not evenly covered by a series of small brush strokes applied with great deliberation. Directly placed pure colors alternate within each area of definition: orange/green, blue/yelloy, and white/gray. A border of alternating strokes of red and blue surrounds the entire canvas. The effect is at once freshly panoramic and spatially flattened. As Robert Goldwater noted, the diagonal placement of the tree trunks is balanced by the visual union of the foliage to the surface of the picture plane, just as the strong angle of the path is spatially thwarted by the even horizon of the bank beyond.
It is unusual for Seurat, who was very prudent about his titles, to have given a descriptive title to this painting: "Grey Weather." At least three of his harbor pictures bear the notation `Evening' along with the name of the town in which they were painted, but never was he as specific in noting the climatic nature of the moment as he was here.
Felix Feneon, the critic and friend of Seurat, was among the first to note that one of the grave dangers of Divisionist painting was that through its increasing refinement of the applied, separate stroke that characterize its practice, the interaction of colors tended to cancel one another out, creating a somewhat dulled coloristic effect that may have been just the opposite from the vibrancy intended. That is certainly not the case here, where despite the intensity and degree of density of color strokes, the relationship is so refined and delicately balanced that the overall muted effect is as intended.
This phenomenon proved a danger only for those followers of Seurat who practiced his Divisionist techniques with less rigor and strongmindedness. The
subtlety and degree of forethought exercised here argue for a completely calculated effect, an effect that is described by the title. The strokes, for example, are not applied with an even denseness. They vary markedly in their thickness and degree of color contrast from one zone of the picture to another, just as the priming layer is not applied evenly but, rather, with considerable forethought to align with the bands of pattern within the picture: the lighter path, the water, and the sky are painted directly on unprimed canvas, whereas a white underpainting shows in spaces between the strokes in darker areas, to further enhance the contrasted color strokes and create illusionist space. The final effect is one of great formal lucidity and absoluteness, yet it has a definite sense of the place and the atmosphere in which it was witnessed.
The border is painted, allowing the picture to distance itself from its original wooden frame. The painted border has been frequently discussed and its originality questioned on the assumption that Seurat returned to this picture at some later date to adjust its surround, as he was known to have done in other cases. However, careful observation of the edge of the picture suggests that this is not the case. The image of the landscape is carefully brought up to a fine edge of exposed, ungrounded canvas well within the perimeter of the outer edge of the canvas. This dark razor line is particularly evident in the highlight of the tree trunk to the right, which plays so effectively in and out of the third dimension, in contrast to the dark border just beyond--with the blue and red alterations applied on the same exposed canvas with great method.