Georges Seurat : the art of vision by Foa, Michelle; Seurat, Georges; Seurat, Georges Pierre
By Foa, Michelle; Seurat, Georges; Seurat, Georges Pierre
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Extra resources for Georges Seurat : the art of vision
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.