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Georges Seurat : the art of vision by Foa, Michelle; Seurat, Georges; Seurat, Georges Pierre

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By Foa, Michelle; Seurat, Georges; Seurat, Georges Pierre

This revelatory research of Georges Seurat (1859–1891) explores the artist’s profound curiosity in theories of visible notion and analyzes how they stimulated his celebrated seascape, city, and suburban scenes. whereas Seurat is understood for his cutting edge use of colour concept to boost his pointillist approach, this e-book is the 1st to underscore the centrality of various rules approximately imaginative and prescient to his seascapes, figural work, and drawings. Michelle Foa highlights the significance of the scientist Hermann von Helmholtz, whose paintings at the body structure of imaginative and prescient at once formed the artist’s technique. Foa contends that Seurat’s physique of labor constitutes a far-reaching research into numerous modes of visible engagement with the area and into the several states of brain that visible reports can produce. Foa’s research additionally brings to gentle Seurat’s sustained exploration of long-standing and new different types of illusionism in paintings. superbly illustrated with greater than one hundred forty work and drawings, this ebook serves as a vital reference on Seurat. 

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Georges Seurat Georges Seurat THE ART OF VISION Michelle Foa This publication is made possible in part by the Barr Ferree Foundation Fund for Publications, Department of Art and Archaeology, Princeton University. Copyright © 2015 by Michelle Foa. All rights reserved. S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. com/art Designed by Leslie Fitch Set in Crimson and Source Sans Pro type by Leslie Fitch Printed in China by Regent Publishing Services Limited Library of Congress Control Number: 2014941271 ISBNs 978-0-300-20835-1 (cloth); 978-0-300-21282-2 (ebook) A catalogue record for this book is available from the British Library.

In these later figural works, vision serves not to inform and orient, but rather to confound one’s rational faculties. Far from being straightforward condemnations of these entertainments, however, Seurat’s images acknowledge their seductive appeal, the artist exploring through the paintings’ form and content a more desire- or pleasure-driven mode of looking and being. Chapter 4 situates Seurat’s work in drawing as complementary to the perceptual, conceptual, and representational terms of the paintings, in which the relationship between the sight and touch of the artist, the viewer, and the depicted subjects of the drawings comes to the fore.

But Seurat’s interest in the coast of northern France, specifically its ports, and his repertoire of images of the vessels, architecture, and navigational mechanisms that define those sites, first took shape years earlier, before he was a professional artist. In 1879, at the age of nineteen and after having completed one year of schooling at the École des Beaux-Arts, Seurat left Paris to fulfill a year of military service. Although this period in Seurat’s life is never discussed at any length, the artist’s experiences during that time relate directly to the body of seascapes that he would begin to produce in the mid-1880s.

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