A view of weekend day-trippers at a well-liked Parisian park overlooking the Seine, Georges Seurat’s Submit-Impressionist masterpiece, A Sunday on La Grande Jatte (1884–86), is a research in contradictions: a portray of recent life that doesn’t seize a second a lot as stops it useless in its tracks, and an outline of topics as stable (if not stolid) volumes that dissolve into an aerosol of colours upon shut examination.
Considered from a Nineteenth-century perspective, La Grande Jatte is each modern and historic, imbuing its scene of evanescent bourgeois leisure with the gravitas of a adorned tomb. Like many such murals, La Grande Jatte is generally a procession of profiles going through one path. “I wish to make fashionable individuals, of their important traits, transfer about as they do on these friezes,” Seurat as soon as wrote, although by “transfer” he truly meant fixing them inside a kind of chromatic eternity—making the sepulchral, because it have been, bloom in sensible hues.
La Grande Jatte was the primary composition during which Seurat employed the cutting-edge method we all know as pointillism, however which he known as divisionism or peinture optique. That he utilized this system to recall the artwork of antiquity, nonetheless, owes to 2 main influences on the evolution of his type. The primary grew out of his time on the École des Beaux-Arts in Paris below the tutelage of painter Henri Lehmann, who specialised in historical past portray and portraits. A former pupil of that titan of Nineteenth-century educational artwork, Jean Auguste Dominique Ingres, he transmitted Ingres’s crystalline, if languid, neoclassicism to a younger Seurat, who maintained it as a template for the remainder of his profession.
The opposite inspiration for Seurat’s type got here from his readings on coloration idea and notion—most notably The Ideas of Concord and Distinction of Colours, written in 1839 by famous French chemist Michel Eugène Chevreul. One of many first volumes of its kind, the e-book laid out Chevreul’s notion of the “simultaneous distinction of colours,” a phenomenon during which two hues positioned shut collectively will appear to combine as in the event that they have been enhances of one another. This describes exactly how Seurat’s dots relied on the viewer’s eye, slightly than the artist’s brush, to merge colours. Certainly, Seurat considered his strategy as an empirical expression. “Some say they see poetry in my work,” he remarked. “I see solely science.”
The portray’s setting, the Île de la Grande Jatte, is a slim sliver of land in the midst of the Seine close to the place the river makes the southwesterly flip that divides the town into the Left and Proper Banks. Its title, translated as “Island of the Large Bowl,” derives from a topographical despair that constitutes its central characteristic.
The park was created in 1818 from land owned by the Duke of Orléans (later King Louis-Philippe I). Between the 1850s and 1870s, it was expanded as a part of the huge city renewal venture run by Baron Haussmann below the path of Emperor Napoleon III. It quickly turned a well-liked vacation spot for plein air painters, together with the Impressionists, Seurat himself making frequent excursions there.
Seurat’s first main composition, Bathers at Asnières (1884), instantly preceded La Grande Jatte, and whereas pointillism didn’t issue into the previous, the portray turned a check for the method. Presenting a bunch of working-class males on the Seine’s riverbank, the artist rendered Bathers in brush marks that kind of blended collectively, typically as uneven crosshatches that foreshadowed his signature dots. As with the gang in La Grande Jatte, Seurat endowed his bathers with the solemnity of a Grecian entablature.
Principally, La Grande Jatte is an extension of Bathers each pictorially and thematically, depicting the identical panorama and sharing a few of its particulars. In actual life, Asnières is immediately reverse La Grande Jatte. Collectively, the work painting either side of the river; they even share the identical railway bridge within the background. The 2 mirror one another bodily, the themes within the former going through left and the figures within the latter wanting proper, but additionally sociologically, because the proletarian loungers in Bathers type a particular distinction with the predominantly middle-class promenaders in La Grande Jatte.
Seurat started work on La Grande Jatte throughout the summer season of 1884 and took two years to complete it. He accomplished some 70 research for the piece, a lot of which have been painted (totally on board, with three on canvas); seen inside them is the evolution of pointillism from the cross-hatching utilized in Bathers.
As to its symbolism, La Grande Jatte is considerably ambiguous. The park was a well known pickup spot for intercourse employees, hinted at by the inclusion of a lady fishing (a metaphor for solicitation) and the oddity of a monkey on a leash held by a lady strolling arm-in-arm with a person; the French phrase singesse (feminine monkey) is slang for prostitute, suggesting her occupation.
The portray met with derision when it appeared within the final Impressionist exhibition in 1886. Joris-Karl Huysmans, creator of À rebours (Towards Nature, 1884) and famend artwork critic, wrote: “Strip his figures of the coloured fleas with which they’re coated, and beneath there’s nothing, no soul, no thought, nothing.”
However Huysmans’s gibe, Seurat proceed to push pointillism in subsequent works, doubling down on his strategy by surrounding them with bands of dots that recommend their migration into the realm of the viewer. Seurat even added the identical to La Grande Jatte when he re-stretched the canvas three years after its completion.
Seurat’s profession was minimize brief by his loss of life at 31 from an unknown an infection, surmised to be meningitis, diphtheria, or pneumonia. But in that temporary time, he produced an icon of artwork historical past in La Grande Jatte—a portray that depends on the viewer as a lot because the artist for its visible results.
