Sunday On La Grande Jatte Analysis

During his short life, Georges-Pierre Seurat was an innovator in an age of innovators in the field of art. This french painter was a leader in a movement called neo-impressionist in the late 19th century. Unlike the broad brushstrokes of the impressionist, Seurat developed a technique called pointillism or divisionism. In this method, he used small dots or strokes of contrasting color to create the subtle changes contained within the painting. Seurat was an art scientist in that he spent much of his life, searching for how different colors and linear effects would change the look or texture of a canvas. He was painstaking in his work, the technique he chose taking much longer to produce a work of art.

Friday nights are made for sitting in the stands and cheering on the football team. However, when I sit in the stands I keep seeing this same kid being favored by the coach. Now how is that fair to the rest of the players.

“A Sunday on La Grande Jatte”, depicting the accumulation of individuals on the island of the Grande Jatte, was painted by Georges Seurat from 1884 to 1886. To create this painting, Seurat utilized multiple pure pigments, a canvas, and a technique called Pointillism. Pointillism is a technique of applying dots of pure paint on canvas.

Hayden’s poem, “Those Winter Sunday’s”, shows how a father of child who goes through bitter working conditions to provide for the ones he loves; the author shows the fathers love and care for the kid in line 18 ,”who had driven in the cold and polished my good shoes as well”, how the father drives through the hazardous weather conditions for his child so they can have the satisfaction of having good shoes supports the love of the father. Also, the statement “…with cracked hands that ached from labor in the weekday weather made banked fires blaze”, is how the father takes so much to work in frigid temperatures but is still coming home to build an ire and make sure his loved ones are warm. The way Hayden’s use of bitter and sharp words such as

The artist I chose to do research on was Rene François Ghislain Magritte. Magritte was born November 21, 1898, Lessines, Belgium to a wealthy family. He had three younger brothers, his father was in the manufacturing business, and his mother was thought to be a milliner before getting married. A man painting in a crematory and his mother’s suicide in 1912 influenced Magritte’s progress as an artist. Magritte painted to find comfort from his mother’s death. In 1916, he left home and studied art at the Académie des Beaux-Arts in Brussels for the next two years. Although he was not interested in his classes, he became friends with Victor Servranckx, who taught Magritte the three styles: Futurism, Cubism, and Purism. Then, in 1921, he joined the

Instead of artists applying brushstrokes towards paintings that encompassed realistic ideas, a new type of theme was known in the early 19th and late 20th centuries. This new theme of art came from Impressionism, which was a movement in France that dealt with painting outside of the studio or museums and painting nature directly. However, these painters did not only paint scenes from nature but also streets, cabarets, rivers, and busy boulevards, wherever human beings were present. Impressionists’ painting referred to originality seen in past artworks by utilizing bright colors, dynamic brushstrokes, and a smaller scale. By the 1880s a new style of painting had emerged in France and other European nations, which was Post-Impressionism. Post-Impressionism was different from Impressionism in that Post-Impressionism emphasized not only on color and light but also focused more on structure and form. Also, these types of paintings used color and line to express a personal sense of reality that was different from Impressionism. As Post-Impressionism shifted from objective reality to subjective reality, Post-Impressionism was the beginning of modern art. Two of the most famous Post-Impressionists are Paul Cezanne and Vincent van Gogh, whose famous paintings are Mont Sainte-Victoire and Starry Night, separately. Both of their paintings made use of the

Stulik, ‘An Integrated Approach for the Study of Painting Techniques’ in Historical Painting Techniques, Materials, and Studio Practice, Oxford: Oxford University Press, 1995, pp. 6-11.

There is emphasis on the man in the left side of the image showing the blood stained cloth around the neck. There is also emphasis on the woman with her legs spread apart and back end showing indicating she had been sexually abused. The focal point is on the man in the center of the painting twisting the man’s arm as he being hung.

The paints were used to create the images on the canvas, linen or felt. The crayons, ink and pencil were mostly used to create images on different types of paper. Photolithography is a process that uses light to create a pattern. They also used silk-screening which allowed multiples of a certain work of art. It was a very inventive time where numerous ways were developed to create art in addition to using the classic techniques.

In “The Procuress” by Johannes Vermeer was an early visual created in 1656. In this visual, you see three men and a woman having drinks. One of the men has his hand on the woman breast. Another man has a very sly look on his face, and the last man has a deceitful smile on his face with a beverage in his hand. The women on the other hand looks calm and collect with a beverage in her hand, but her eyes are close. This made me assume that they are drinking alcohol and are trying to seduce the woman. To add on to that, procuress is sort of like a prostitute, and in the visual you can see one of the men hand the woman some money. This tells me a lot about cultural values of that time. For instance, I can infer that people used to get drunk for fun and call prostitutes to hook up with. Also this painting only pertains to the wealthy. You can tell they’re wealthy because they have on fancy clothes and fancy hats. This is still similar in today’s culture because prostitution still takes place, and it is usually middle or high-class men that can afford those women.

The first Element of Art that I chose to discuss is line. “Line is a mark with greater length than width. Lines can be horizontal, vertical, or diagonal: straight or curved: thick or thin” (Getty 1). Van Gogh used lines to move the viewers eyes to different areas of the painting. Also, vertical lines move the viewer’s eyes up to the sky. He used diagonal and curving lines in the sky to move the viewer’s eyes toward the largest star in the painting, the moon. He also uses lines to form the stars and planets in the sky. He uses lines as the focal point in this painting. He does not use any clean shapes, but instead uses prominent lines to portray his story.

Impressionism was a movement that came about in the late 19th century, most specifically its roots can be traced back the 1874 when a group called the Anonymous Society of Painters, Sculptors, Printmakers, etc. organized an exhibition in Paris. (Samu, 2004). The group led several exhibitions through the 1880’s which brought them into the spot light despite criticism from the conventional art community in France. The movement received its name from one of the movements most now most recognized artists Claude Monet and his piece Impression, Sunrise. It is said that a critic accused the painting of being a sketch or “impression”. (Samu, 2004) Paintings of this period tended to be outdoor scenes and panoramas. My Grandfather, Lawrence

When most people look at a painting, the last word that comes to mind is “science”. However, art and science have more in common than one might think. To some artists, science is the method through which their greatest masterpieces are created. One such artist was Georges Seurat. His divisionist technique and application of the theories of chromoluminarism and of the psychology of line were based heavily on both the developments of color theory in the 19th century as well as Seurat’s own organized and methodical personality as a painter. Seurat’s methods, technique, and theories will be explored in this essay using several of his masterpieces (specifically A Sunday Afternoon on La Grande Jatte and Le Chahut) to demonstrate their effectiveness

Analysis: This painting, which was actually painted when Manet was critically ill, upholds the artist's conflicting outlook. One approach at looking at this painting, shows it features a modern locale in The Folies-Bergere - the most renowned and modern of Paris's cafe-concert halls, which was noted among many other things for its innovative electric lights. In addition, its brushwork is Impressionistic and its framing has been swayed by the new art of photography. And another approach, its meaning is totally opaque, even inexplicable, dealing as it does with a problem that engaged Manet throughout his entire adult life: the relationship, in figurative painting, between realism and illusion. Probably modelled on Las Meninas (1656), the enigmatic Baroque masterpiece by Velazquez, the painting seems to be a straightforward frontal image of a barkeep serving behind her counter, who peers out at us, the viewer/patron. Then we see the giant mirror behind her and the confusing reflections it holds. The woman’s reflection has been turned to the right; while in the

Post-Impressionism encompasses a wide range of distinct artistic styles that all share the common motivation of responding to the opticality of the Impressionist movement. The stylistic variations assembled under the general banner of Post-Impressionism range from the scientifically oriented Neo-Impressionism to the lush Symbolism, but all concentrated on the subjective vision of the artist. Symbolic and highly personal meanings were particularly important to Post-Impressionists such as Paul Gauguin and Vincent van Gogh. Rejecting interest in depicting the observed world, they instead looked to their memories and emotions in order to connect with the viewer on a deeper level. Structure, order, and the optical effects of color dominated the aesthetic vision of Post-Impressionists like Paul Cézanne, Georges Seurat, and Paul Signac. Rather than merely represent their surroundings, they relied upon the interrelations of color and shape to describe the world around them. Despite the various individualized styles, most Post-Impressionists focused on abstract form and pattern in the application of paint to the surface of the canvas. The label Post-Impressionism was never used by the Post-Impressionists themselves. It was coined in 1910 by Roger Fry when he staged an exhibition in London called Manet and the Post-Impressionists (Munry, 2017). Cezanne, Gauguin and Van Gogh were the central artists of this show since, according to Fry, they were the three great painters who had turned