Una domenica pomeriggio sull'isola della Grande Jatte di Georges Seurat [Analisi e descrizione]

ArtandtheCities - Storia dell'arte e viaggi
ArtandtheCities - Storia dell'arte e viaggi
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Clelia
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00:00 Intro
00:30 Description
02:07 Pointillism
04:14 Details
05:42 Seurat
08:21 Collection
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A Sunday Afternoon on the Island of La Grande Jatte Analysis
Seurat's painting from 1884 is one of the works that best describes French society in the late nineteenth century. And it is kept across the ocean, in America, at the Art Institute of Chicago. The work portrays fashionable Parisians enjoying the sun on Sunday afternoon on the bank of the Seine. But their figures, some very geometric, are a tool for experimentation Seurat.
The interesting paradox of this work is that the scene Seurat is witnessing is actually frenetic and impregnable. Instead, he makes it monumental.

What is pointillism in art?
Seurat's painting was shown for the first time in May 1886 at an impressionist exhibition. And only a few months later, in August the work became the protagonist of the Independent Artists Exhibition, founded by Seurat himself two years earlier in 1884. Seurat's work can be defined as post-impressionist and is part of the Pointillism movement. Seurat's pointillism involves placing small points of pure color next to each other on the canvas. In this way, the dots merge into the spectator's mind, thanks to the eye that observes them. So instead of mixing the colors from the palette on the canvas, the eye will mix the colors for us. Seurat is inspired by the optical effects and studies on perception related to the theories of color of two scientists quite famous already at the time (Michel Eugène Chevreul and Ogden Rood). In this Seurat masterpiece, the subject of the work is therefore more a pretext to study the composition, the lights and the colors than to describe the Paris of the time.

A Sunday Afternoon on the Island of La Grande Jatte Details
At the center of the work we find a woman shaking hands with a child. Together they walk towards the viewer. They stand out because they are among the few frontal figures, all the others are represented mostly in profile.
Then inserting a monkey in such a work might seem absurd to our eyes today. Yet this was not the case in late nineteenth-century France. Monkeys, called Capuchin monkeys, were fashionable pets at the time.
In the background of the painting, through the trees, you can see a boat in the distance on the Seine with a French flag. This detail was inserted by Seurat probably because he himself was a French patriot.
The profile figures in Seurat's work all have one characteristic: they seem firm, static. This representation was probably influenced by Seurat's boyish studies of classical sculpture.

Who painted A Sunday afternoon on the island of Grande Jatte?
Born in Paris, Seurat enrolled in the School of Fine Arts in 1878. But unfortunately after a year he is forced to leave to perform compulsory military service. He returned to Paris in 1880 and concentrated on drawing for two years, producing mysterious and velvety drawings using pastel on rough paper. Start painting, experimenting with styles inspired by Delacroix and the Impressionists. After reading various scientific and aesthetic theory books discussing the role of color in art, he tries to formalize these theories in his paintings. The protagonists of the work are exemplified and stylized and some shapes are constantly repeated in the painting. This repetition of the shapes accompanies another Seurat style choice. That of representing some figures with very simple geometric shapes.

Does the island of Grande Jatte really exist?
Yes! The island is located in Paris in an area that at the time was considered a periphery and which today is instead inside the center, right on the Seine. For many years it was an industrial area while today there is a park and when Seurat created the work, the island was truly one of the most fashionable places of the time.

Where is A Sunday Afternoon on the Island of La Grande Jatte?
The work is kept today at the Chicago Institute of Art thanks to the purchase of two careful collectors: Mr. and Mrs. Bartlett. The story goes that it was bought at the time for $ 24,000 which at today's exchange rate would be roughly € 320,000.
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