Georges Seurat

Paper Summary:

This paper examines the life of Georges Seurat, particularly focusing on his artwork "A Sunday on La Grande Jatte". The paper argues that Seurat approached his works like "A Sunday on La Grande Jatte" in an empirical, systematic yet flexible manner. It also suggests that while this method is rigid, it is flexible allowing for Seurat to rework areas he felt needed more attention during the creation process.

From the Paper:

"Close examination of the final painting reveals that a number of smaller figures were added over the final landscape, since much of the shadows and grass are visible through the actual figures. These figures are located in green (figure 9) and are usually referred to as being painted in the intermediate stage. Some scholars believe this suggests that Seurat may have worked out the details of these figures on both the metropolitan sketch and the Chicago canvas simultaneously. The figures in red (figure 9) were added in the final stages of the painting as they are not visible in the x-rays of A Sunday on La Grande Jatte."

Sample of Sources Used:

• Herbert, Robert L. 2004. Seurat and the Making of La Grande Jatte. Los Angles, California: University of California Press.
• Article Stuckey, Charles F. (2006)True Colors: Seurat and "La Grande Jatte",
• Encyclopedia Sadie, S. (Ed.). (1980). The new Grove dictionary of music and musicians (6th ed., Vols. 1-20). London: Macmillan.

More papers on Georges Seurat:

• Essay # 70652 : "Georges Seurat"
• Essay # 42076 : "Georges Seurat: Science and Art."
• Essay # 31566 : "Seurat and the Science of Colour"

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