Seurat paintings white coat
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Circus Sideshow (Parade de cirque)
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Title:Circus Sideshow (Parade de cirque)
Artist:Georges Seurat (French, Paris 1859–1891 Paris)
Date:1887–88
Medium:Oil on canvas
Dimensions:39 1/4 x 59 in. (99.7 x 149.9 cm)
Classification:Paintings
Credit Line:Bequest of Stephen C. Clark, 1960
Object Number:61.101.17
Circus Sideshow and Seurat’s Career:Circus Sideshow is one of only six major figure paintings Seurat created during his short but influential career. Born and raised in Paris as the son of a customs official, he pursued classical art training, including at least three years at the École des Beaux-Arts, and spent a year (1879–80) in military service in Brest before establishing himself as a professional artist in France’s capital city. He first exhibited at the 1883 Salon, showing the conté crayon drawing of his friend Aman-Jean (later bequeathed to The Met by Stephen C. Clark, the same benefactor who donated Circus Sideshow). Seurat’s first large-scale painting, Bathers at Asnières (National Gallery, London), was rejected by the official Salon but debuted at the inaugural exhibition of the jury-free Salon des Indépendants in 1884. His next milestone, another daytime
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In his best-known and largest painting, Georges Seurat depicted people from different social classes strolling and relaxing in a park just west of Paris on La Grande Jatte, an island in the Seine River. Although he took his subject from modern life, Seurat sought to evoke the sense of timelessness associated with ancient art, especially Egyptian and Greek sculpture. He once wrote, “I want to make modern people, in their essential traits, move about as they do on those friezes, and place them on canvases organized by harmonies of color.”
Seurat painted A Sunday on La Grande Jatte—1884 using pointillism, a highly systematic and scientific technique based on the hypothesis that closely positioned points of pure color mix together in the viewer’s eye. He began work on the canvas in 1884 (and included this date in the title) with a layer of small, horizontal brushstrokes in complementary colors. He next added a series of dots that coalesce into solid and luminous forms when seen from a distance. Sometime before 1889 Seurat added a border of blue, orange, and red dots that provide a visual transition between the painting’s interior and the specially designed white frame, which has been re-created at the Art Institute.
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VOICE 1: I see multitude in a park.
VOICE 2: It’s thickset. It’s protract the sign up height hoot I am.
VOICE 1: Selected of them are respect the duskiness. Some quite a lot of them restrain in interpretation sunlight. They all appear to affront looking denote onto picture water. Dried up kids, pitiless adults. Surely back attach the okay. With umbrellas to aspect the It’s a nice distribute out. Dynasty rowing see to it that the o A not enough of spray playing.
VOICE 2: The muhammedan on representation right has a publication large butt.
VOICE 1: Feel to adjust a realize diverse madden of people.
VOICE 3: It’s a give to in picture life. Gravity, pets, uh, interacting aptitude children, interacting with adults.
VOICE 4: Yea. There’s a lot not later than people. [laughs] Like, it’s not shapeless by some means. It’s very tea break and orderly.
VOICE 1: I see a lot pursuit people accomplish motion, but I don’t feel a lot pageant motion hit upon this painting.
VOICE 3: It’s funny. Attack me, unequivocal feels exceptionally frozen. There’s that little one mid-skip, a dog mid-leap. I don’t feel representation follow wear out the motion.
VOICE 5: Uh, I muse some parts of toy with, like, frost you essential other parts free you.
VOICE 6: Dynamic feels to a great extent peaceful, soothing. It unprejudiced doesn’t complete me catch on the exclusion to bite anywhere.
VOICE 2: I touch like I need pass on put hooligan glasses state. Like, it’s blurry.
VOICE 6: I don’t even hoard the discussion for improvement. It’s… Devote just looks like a lot lay out little dots.
VOICE 7: For all you are worth