LaurieAnnie's photos with the keyword: Pointilism

Moored Boats and Trees Bateaux Amarrés et Arbres Georges Seurat, French, 1859 - 1891 Geography: Made in France, Europe Date: 1890 Medium: Oil on wood Dimensions: 6 5/16 x 9 13/16 inches (16 x 25 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 152, European Art 1850-1900, first floor (Annenberg Galleries; Toll Gallery) Accession Number: 2008-181-1 Credit Line: Gift of Jacqueline Matisse Monnier in memory of Anne d'Harnoncourt, 2008 Text from: www.philamuseum.org/collections/permanent/306039.html?mulR=91194049|4

Artist: Paul Signac (French, Paris 1863–1935 Paris) Title: Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles Date: 1905–6 Medium: Oil on canvas Dimensions: 35 x 45 3/4 in. (88.9 x 116.2 cm) Classification: Paintings Credit Line: Gift of Robert Lehman, 1955 Accession Number: 55.220.1 Gallery Label: Signac went even farther than Seurat in his methodical studies of the division of light into its components of pure color, and he arranged rectangular brushstrokes like tesserae in a mosaic. In 1901 Signac had painted a smaller and less vibrant version of this view of the Marseilles, crowned by the church of Notre Dame de la Garde. The luminosity and brilliant color of the present picture are dependent on his continued use of unmixed pigments, but also on his contact with the young Fauve painters Henri-Edmond Cross and Matisse and Saint-Tropez in summer 1904. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Paul Signac (French, Paris 1863–1935 Paris) Title: Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles Date: 1905–6 Medium: Oil on canvas Dimensions: 35 x 45 3/4 in. (88.9 x 116.2 cm) Classification: Paintings Credit Line: Gift of Robert Lehman, 1955 Accession Number: 55.220.1 Gallery Label: Signac went even farther than Seurat in his methodical studies of the division of light into its components of pure color, and he arranged rectangular brushstrokes like tesserae in a mosaic. In 1901 Signac had painted a smaller and less vibrant version of this view of the Marseilles, crowned by the church of Notre Dame de la Garde. The luminosity and brilliant color of the present picture are dependent on his continued use of unmixed pigments, but also on his contact with the young Fauve painters Henri-Edmond Cross and Matisse and Saint-Tropez in summer 1904. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Paul Signac (French, Paris 1863–1935 Paris) Title: Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles Date: 1905–6 Medium: Oil on canvas Dimensions: 35 x 45 3/4 in. (88.9 x 116.2 cm) Classification: Paintings Credit Line: Gift of Robert Lehman, 1955 Accession Number: 55.220.1 Gallery Label: Signac went even farther than Seurat in his methodical studies of the division of light into its components of pure color, and he arranged rectangular brushstrokes like tesserae in a mosaic. In 1901 Signac had painted a smaller and less vibrant version of this view of the Marseilles, crowned by the church of Notre Dame de la Garde. The luminosity and brilliant color of the present picture are dependent on his continued use of unmixed pigments, but also on his contact with the young Fauve painters Henri-Edmond Cross and Matisse and Saint-Tropez in summer 1904. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Paul Signac (French, Paris 1863–1935 Paris) Title: Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles Date: 1905–6 Medium: Oil on canvas Dimensions: 35 x 45 3/4 in. (88.9 x 116.2 cm) Classification: Paintings Credit Line: Gift of Robert Lehman, 1955 Accession Number: 55.220.1 Gallery Label: Signac went even farther than Seurat in his methodical studies of the division of light into its components of pure color, and he arranged rectangular brushstrokes like tesserae in a mosaic. In 1901 Signac had painted a smaller and less vibrant version of this view of the Marseilles, crowned by the church of Notre Dame de la Garde. The luminosity and brilliant color of the present picture are dependent on his continued use of unmixed pigments, but also on his contact with the young Fauve painters Henri-Edmond Cross and Matisse and Saint-Tropez in summer 1904. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Paul Signac French, 1863-1935 View of Collioure, 1887 From the Robert Lehman Collection, Accession # 1975.1.208 Text from the Metropolitan Museum of Art label.

Place de Clichy, 1888 Paul Signac (Paris 1863–1935) French Oil on wood; 10 3/4 x 14 in. (27.3 x 35.6 cm) Robert Lehman Collection, 1975 (1975.1.210) Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=22&vie...

Paul Signac French, 1863-1935 View of Collioure, 1887 From the Robert Lehman Collection, Accession # 1975.1.208 Text from the Metropolitan Museum of Art label.

Title: Gray Weather, Grande Jatte Artist: Georges Seurat (French, Paris 1859–1891 Paris) Date: ca. 1886–88 Medium: Oil on canvas Dimensions: 27 3/4 x 34 in. (70.5 x 86.4 cm) Classification: Paintings Credit Line: The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 2002, Bequest of Walter H. Annenberg, 2002 Accession Number: 2002.62.3 This view extends from the island of La Grande Jatte, framed by trees, to the red-roofed houses of the Paris suburb of either Asnières or Courbevoie across the Seine. Seurat had earlier celebrated this stretch of the river with his ambitious compositions Bathers at Asnières (1883–84, National Gallery, London) and A Sunday on La Grande Jatte (1884–86, Art Institute of Chicago). Here he sought "to transcribe most exactly the vivid outdoor clarity [of nature] in all its nuances" using a technique known as Divisionism (also called Pointillism). The painted border was added shortly before the picture was first exhibited in 1889. Text from: www.metmuseum.org/art/collection/search/438015

Title: Gray Weather, Grande Jatte Artist: Georges Seurat (French, Paris 1859–1891 Paris) Date: ca. 1886–88 Medium: Oil on canvas Dimensions: 27 3/4 x 34 in. (70.5 x 86.4 cm) Classification: Paintings Credit Line: The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 2002, Bequest of Walter H. Annenberg, 2002 Accession Number: 2002.62.3 This view extends from the island of La Grande Jatte, framed by trees, to the red-roofed houses of the Paris suburb of either Asnières or Courbevoie across the Seine. Seurat had earlier celebrated this stretch of the river with his ambitious compositions Bathers at Asnières (1883–84, National Gallery, London) and A Sunday on La Grande Jatte (1884–86, Art Institute of Chicago). Here he sought "to transcribe most exactly the vivid outdoor clarity [of nature] in all its nuances" using a technique known as Divisionism (also called Pointillism). The painted border was added shortly before the picture was first exhibited in 1889. Text from: www.metmuseum.org/art/collection/search/438015

Circus Sideshow, 1887–88 Georges Seurat (French, 1859–1891) Oil on canvas 39 1/4 x 59 in. (99.7 x 149.9 cm) Bequest of Stephen C. Clark, 1960 (61.101.17) Circus Sideshow (or Parade de Cirque) is one of six major figure paintings that Seurat produced during his short career. More compact than his other mural-size compositions, and more mysterious in its allure, Seurat's first nocturnal painting debuted at the 1888 Salon des Indépendants in Paris. On a balustraded stage, under the misty glow of nine twinkling gaslights, a ringmaster (at right) and musicians (at left) play to a crowd of potential ticket buyers, whose assorted hats add a wry and rhythmic note to the foreground. Seurat made on-site sketches in the spring of 1887, when Fernand Corvi's traveling circus was set up in a working-class district of Paris, near the place de la Nation; he then developed the composition through several preparatory studies. Circus Sideshow represents the first important painting Seurat devoted to a scene of popular entertainment. In effect, it sets the stage for his last great figure compositions, La Chahut of 1889–90 (Kröller-Müller Museum, Otterlo) and Circus of 1890–91 (Musée d'Orsay, Paris). Text from: www.metmuseum.org/toah/works-of-art/61.101.17

Georges Seurat (artist) French, 1859 - 1891 The Lighthouse at Honfleur, 1886 oil on canvas overall: 66.7 x 81.9 cm (26 1/4 x 32 1/4 in.) framed: 94.6 x 109.4 x 10.3 cm (37 1/4 x 43 1/16 x 4 1/16 in.) Collection of Mr. and Mrs. Paul Mellon 1983.1.33 Seurat showed works similar to The Lighthouse at Honfleur in 1886 at the eighth and last impressionist exhibition, an event that established him as a leading modernist. Based on new theories about optical characteristics of light and color, Seurat invented a technique called pointillism, or divisionism, as a scientifically objective form of impressionism. Seurat juxtaposed minute touches of unmixed pigments in hues corresponding to the perceived local color, the color of light, the complement of the local color for shadow, and reflected color of nearby areas, which in principle will combine visually when viewed from the proper distance. This meticulous technique, less random than impressionism, enabled Seurat to record appearances more accurately while preserving the fresh, natural qualities he admired in impressionist works. Following the intensive studio campaign leading to the exhibition of Sunday Afternoon on the Island of La Grande-Jatte (Art Institute of Chicago), a controversial work also shown at the 1886 exhibition, Seurat spent the summer at Honfleur, a coastal resort near Le Havre. He relaxed by painting local landmarks such as the hospice and lighthouse in The Lighthouse at Honfleur. Balancing warm blond tones in the sand and lighthouse with cool blues in the sky and water and constructing a stable composition around the horizontals of the jetty and horizon crossed by the vertical tower, Seurat created a work of majestic serenity. Text from: www.nga.gov/fcgi-bin/tinfo_f?object=61383

Georges-Pierre Seurat. (French, 1859-1891). Evening, Honfleur. 1886. Oil on canvas, 30 3/4 x 37" (78.3 x 94 cm) including frame. Gift of Mrs. David M. Levy. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 36 Seurat spent the summer of 1886 in the resort town of Honfleur, on the northern French coast, a region of turbulent seas and rugged shorelines to which artists had long been attracted. But Seurat's evening scene is hushed and still. Vast sky and tranquil sea bring a sense of spacious light to the picture, yet also have a peculiar visual density. Long lines of cloud echo the breakwaters on the beach—signs of human life and order. Seurat had used his readings of optical theory to develop a systematic technique, known as pointillism, that involved the creation of form out of small dots of pure color. In the viewer's eye, these dots can both coalesce into shapes and remain separate particles, generating a magical shimmer. A contemporary critic described the light in Evening, Honfleur and related works as a "gray dust," as if the transparency of the sky were filled with, or even constituted by, barely visible matter—a sensitive response to the paint's movement between illusion and material substance, as the dots both merge to describe the scene and break into grains of pigment. Seurat paints a frame around the scene—buffering a transition between the world of the painting and reality; and, at the upper right, the dots on the frame grow lighter, lengthening the rays of the setting sun. Text from: www.moma.org/collection/browse_results.php?criteria=O:DE:I:5 |G:HO:E:1&page_number=4&sort_order=1&template_id=1

Georges-Pierre Seurat. (French, 1859-1891). Evening, Honfleur. 1886. Oil on canvas, 30 3/4 x 37" (78.3 x 94 cm) including frame. Gift of Mrs. David M. Levy. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 36 Seurat spent the summer of 1886 in the resort town of Honfleur, on the northern French coast, a region of turbulent seas and rugged shorelines to which artists had long been attracted. But Seurat's evening scene is hushed and still. Vast sky and tranquil sea bring a sense of spacious light to the picture, yet also have a peculiar visual density. Long lines of cloud echo the breakwaters on the beach—signs of human life and order. Seurat had used his readings of optical theory to develop a systematic technique, known as pointillism, that involved the creation of form out of small dots of pure color. In the viewer's eye, these dots can both coalesce into shapes and remain separate particles, generating a magical shimmer. A contemporary critic described the light in Evening, Honfleur and related works as a "gray dust," as if the transparency of the sky were filled with, or even constituted by, barely visible matter—a sensitive response to the paint's movement between illusion and material substance, as the dots both merge to describe the scene and break into grains of pigment. Seurat paints a frame around the scene—buffering a transition between the world of the painting and reality; and, at the upper right, the dots on the frame grow lighter, lengthening the rays of the setting sun. Text from: www.moma.org/collection/browse_results.php?criteria=O:DE:I:5 |G:HO:E:1&page_number=4&sort_order=1&template_id=1

Georges-Pierre Seurat. (French, 1859-1891). Grandcamp, Evening. 1885. Oil on canvas, 26 x 32 1/2" (66.2 x 82.4 cm). Estate of John Hay Whitney. Text from: www.moma.org/collection/browse_results.php?object_id=79409

Paul Signac. (French, 1863-1935). Setting Sun. Sardine Fishing. Adagio. Opus 221 from the series The Sea, The Boats, Concarneau. 1891. Oil on canvas, 25 5/8 x 31 7/8" (65 x 81 cm). Mrs. John Hay Whitney Bequest. Text from: www.moma.org/collection/browse_results.php?object_id=80023

Paul Signac. (French, 1863-1935). Setting Sun. Sardine Fishing. Adagio. Opus 221 from the series The Sea, The Boats, Concarneau. 1891. Oil on canvas, 25 5/8 x 31 7/8" (65 x 81 cm). Mrs. John Hay Whitney Bequest. Text from: www.moma.org/collection/browse_results.php?object_id=80023

Georges-Pierre Seurat. (French, 1859-1891). The Channel at Gravelines, Evening. summer 1890. Oil on canvas, 25 3/4 x 32 1/4" (65.4 x 81.9 cm). Gift of Mr. and Mrs. William A. M. Burden Text from: www.moma.org/collection/browse_results.php?object_id=80354