LaurieAnnie's photos with the keyword: NeoImpressionism

Title: Study for "A Sunday on La Grande Jatte" Artist: Georges Seurat (French, Paris 1859–1891 Paris) Date: 1884 Medium: Oil on canvas Dimensions: 27 3/4 x 41 in. (70.5 x 104.1 cm) Classification: Paintings Credit Line: Bequest of Sam A. Lewisohn, 1951 Accession Number: 51.112.6 This is Seurat’s final study for his monumental painting of Parisians at leisure on an island in the Seine (Art Institute of Chicago). Contrasting pigments are woven together with small, patchy brushstrokes, whereas in the mural-sized park scene—which debuted two years later at the 1886 Impressionist exhibition—Seurat used tighter, dot-like dabs of paint, a technique which came to be known as Pointillism (from the French word point, or dot). He preferred the term Divisionism—the principle of separating color into small touches placed side-by-side and meant to blend in the eye of the viewer. Text from: www.metmuseum.org/art/collection/search/437658

Title: Study for "A Sunday on La Grande Jatte" Artist: Georges Seurat (French, Paris 1859–1891 Paris) Date: 1884 Medium: Oil on canvas Dimensions: 27 3/4 x 41 in. (70.5 x 104.1 cm) Classification: Paintings Credit Line: Bequest of Sam A. Lewisohn, 1951 Accession Number: 51.112.6 This is Seurat’s final study for his monumental painting of Parisians at leisure on an island in the Seine (Art Institute of Chicago). Contrasting pigments are woven together with small, patchy brushstrokes, whereas in the mural-sized park scene—which debuted two years later at the 1886 Impressionist exhibition—Seurat used tighter, dot-like dabs of paint, a technique which came to be known as Pointillism (from the French word point, or dot). He preferred the term Divisionism—the principle of separating color into small touches placed side-by-side and meant to blend in the eye of the viewer. Text from: www.metmuseum.org/art/collection/search/437658

Title: Study for "A Sunday on La Grande Jatte" Artist: Georges Seurat (French, Paris 1859–1891 Paris) Date: 1884 Medium: Oil on canvas Dimensions: 27 3/4 x 41 in. (70.5 x 104.1 cm) Classification: Paintings Credit Line: Bequest of Sam A. Lewisohn, 1951 Accession Number: 51.112.6 This is Seurat’s final study for his monumental painting of Parisians at leisure on an island in the Seine (Art Institute of Chicago). Contrasting pigments are woven together with small, patchy brushstrokes, whereas in the mural-sized park scene—which debuted two years later at the 1886 Impressionist exhibition—Seurat used tighter, dot-like dabs of paint, a technique which came to be known as Pointillism (from the French word point, or dot). He preferred the term Divisionism—the principle of separating color into small touches placed side-by-side and meant to blend in the eye of the viewer. Text from: www.metmuseum.org/art/collection/search/437658

Title: Study for "A Sunday on La Grande Jatte" Artist: Georges Seurat (French, Paris 1859–1891 Paris) Date: 1884 Medium: Oil on canvas Dimensions: 27 3/4 x 41 in. (70.5 x 104.1 cm) Classification: Paintings Credit Line: Bequest of Sam A. Lewisohn, 1951 Accession Number: 51.112.6 This is Seurat’s final study for his monumental painting of Parisians at leisure on an island in the Seine (Art Institute of Chicago). Contrasting pigments are woven together with small, patchy brushstrokes, whereas in the mural-sized park scene—which debuted two years later at the 1886 Impressionist exhibition—Seurat used tighter, dot-like dabs of paint, a technique which came to be known as Pointillism (from the French word point, or dot). He preferred the term Divisionism—the principle of separating color into small touches placed side-by-side and meant to blend in the eye of the viewer. Text from: www.metmuseum.org/art/collection/search/437658

Title: Study for "A Sunday on La Grande Jatte" Artist: Georges Seurat (French, Paris 1859–1891 Paris) Date: 1884 Medium: Oil on canvas Dimensions: 27 3/4 x 41 in. (70.5 x 104.1 cm) Classification: Paintings Credit Line: Bequest of Sam A. Lewisohn, 1951 Accession Number: 51.112.6 This is Seurat’s final study for his monumental painting of Parisians at leisure on an island in the Seine (Art Institute of Chicago). Contrasting pigments are woven together with small, patchy brushstrokes, whereas in the mural-sized park scene—which debuted two years later at the 1886 Impressionist exhibition—Seurat used tighter, dot-like dabs of paint, a technique which came to be known as Pointillism (from the French word point, or dot). He preferred the term Divisionism—the principle of separating color into small touches placed side-by-side and meant to blend in the eye of the viewer. Text from: www.metmuseum.org/art/collection/search/437658

Title: Study for "A Sunday on La Grande Jatte" Artist: Georges Seurat (French, Paris 1859–1891 Paris) Date: 1884 Medium: Oil on canvas Dimensions: 27 3/4 x 41 in. (70.5 x 104.1 cm) Classification: Paintings Credit Line: Bequest of Sam A. Lewisohn, 1951 Accession Number: 51.112.6 This is Seurat’s final study for his monumental painting of Parisians at leisure on an island in the Seine (Art Institute of Chicago). Contrasting pigments are woven together with small, patchy brushstrokes, whereas in the mural-sized park scene—which debuted two years later at the 1886 Impressionist exhibition—Seurat used tighter, dot-like dabs of paint, a technique which came to be known as Pointillism (from the French word point, or dot). He preferred the term Divisionism—the principle of separating color into small touches placed side-by-side and meant to blend in the eye of the viewer. Text from: www.metmuseum.org/art/collection/search/437658

Title: Study for "A Sunday on La Grande Jatte" Artist: Georges Seurat (French, Paris 1859–1891 Paris) Date: 1884 Medium: Oil on canvas Dimensions: 27 3/4 x 41 in. (70.5 x 104.1 cm) Classification: Paintings Credit Line: Bequest of Sam A. Lewisohn, 1951 Accession Number: 51.112.6 This is Seurat’s final study for his monumental painting of Parisians at leisure on an island in the Seine (Art Institute of Chicago). Contrasting pigments are woven together with small, patchy brushstrokes, whereas in the mural-sized park scene—which debuted two years later at the 1886 Impressionist exhibition—Seurat used tighter, dot-like dabs of paint, a technique which came to be known as Pointillism (from the French word point, or dot). He preferred the term Divisionism—the principle of separating color into small touches placed side-by-side and meant to blend in the eye of the viewer. Text from: www.metmuseum.org/art/collection/search/437658

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

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.

Artist: Maximilien Luce (French, 1858–1941) Title: Morning, Interior Date: 1890 Medium: Oil on canvas Dimensions: 25 1/2 x 31 7/8 in. (64.8 x 81 cm) Classification: Paintings Credit Line: Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967 Accession Number: 67.187.80 Gallery Label: The painting represents Gustave Perrot (died 1891/92), a close friend of Luce and a fellow Neo-Impressionist Text from:http://www.metmuseum.org/Works_of_Art/collection_database/european_paintings/morning_interior_maximilien_luce//objectview.aspx?OID=110001367&collID=11&dd1=11

Artist: Maximilien Luce (French, 1858–1941) Title: Morning, Interior Date: 1890 Medium: Oil on canvas Dimensions: 25 1/2 x 31 7/8 in. (64.8 x 81 cm) Classification: Paintings Credit Line: Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967 Accession Number: 67.187.80 Gallery Label: The painting represents Gustave Perrot (died 1891/92), a close friend of Luce and a fellow Neo-Impressionist Text from:http://www.metmuseum.org/Works_of_Art/collection_database/european_paintings/morning_interior_maximilien_luce//objectview.aspx?OID=110001367&collID=11&dd1=11

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

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

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

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