The Combination of Science and Art

 The artist Georges Seurat lived during the era of Impressionism. Surrounded by artwork created with short brush strokes that seemed quick and spontaneous, Seurat developed a technique called pointillism. Seurat was highly interested in scientific color theory, particularly the studies done by Michel Eugène Chevreul on optical perception. Instead of blending colors together on a palette, Seurat enjoyed placing contrasting colors side by side, allowing the viewer to blend them optically. This was achieved by placing tons of little, precise dots of pure color. Tiny little microscopic points placed in an analytical way that needs to be seen from a distance and at close to be fully appreciated.

The technique was quite different from most impressionist art and seemed dull in comparison. Pointillism was a polarizing technique that resulted in a range of reactions from condescension and skepticism to intellectual admiration. In fact, the term pointillism was originally coined by critics as a term to mock the technique. The technique was seen as robotic and reduced art to a simple science.

However, other critics like Félix Fénéon saw the potential of the new movement of neo-impressionism. Neo-impressionism was marked by this new technique of tiny, distinct dots of color. It was an entirely new form of impressionism that favored calculated and structured compositions instead of the spontaneity of impressionism. The paintings below all have been influenced by this technique, with The Gardener actually preceding its establishment, but still demonstrates Seurat’s early interest in color theory. 

 

Georges Seurat - The Gardener

1882–83

Medium: Oil on wood

6 ¼ x 9 ¾ in. (15.9 x 24.8 cm)

Ascension: 67.187.102

This painting depicts an elderly laborer in his simple urban life. The piece precedes the first major work created with the pointillism technique, but echoes can still be seen in the bright hues of the picture. Seurat creates a seemingly simple painting with little detail that actually hides a multitude of complex actions that create a visual sense of wholeness. If the viewer looks closely at the painting, the relatively few colors used actually hide a crowd of many colors blending together. 

Georges Seurat - A Sunday on La Grande Jatte

1884

Medium: Oil on canvas

27 3/4 x 41 in. (70.5 x 104.1 cm)

Ascension: 51.112.6

This painting is perhaps the most famous of Georges Seurat, and it was what put pointillism on the map. It depicts a leisurely day on an island in the Seine that seems at first quite flat. But this painting is incredibly detailed and methodical when it comes to using color and light. The painting shows all the different types of people who enjoy a leisurely Sunday afternoon. There are kids, rich women, and animals. But even though this should be a relaxed activity, the figures are stiff, similar to Classical Egyptian art.  

Maximilien Luce - Morning, Interior

1890

Medium: Oil on canvas

25 1/2 x 31 7/8 in. (64.8 x 81 cm)

Ascension: 67.187.80

Maximilien Luce is one of the first artists to adopt Seurat’s technique while also adding his own flair to it. The painting shows the everyday man getting ready for a day at work. Luce chooses not to focus on the rich and elite of society but rather wants the ordinary, the less idealized. Luce uses red, orange, yellow, and blue to make the colors vibrate throughout the painting and maximizes the light with pointillism. Morning, Interior is a great example of how Neo-Impressionism was being used to depict the modern social dynamics of that day. 

Paul Signac - Evening Calm, Concarneau, Opus 220 (Allegro Maestoso)

1891

Medium: Oil on canvas

25 1/2 × 32 in. (64.8 × 81.3 cm)

Ascension: 1975.1.209

Paul Signac was probably the most dedicated follower of Seurat and is often credited with helping Seurat develop Pointillism. Similar to other paintings of Neo-Impressionism, it seems relatively simple at first. The painting depicts some boats along the riverbank on a calm day. This quiet harbor actually hides some extremely methodical and thoughtful uses of light and color harmony. The work is even titled after Opus 220 (Allegro Maestoso), highlighting Signac’s visual rhythm in this piece. This painting, along with the others, is best seen at a distance but is also greatly appreciated up very close as the viewer can see the thousands of little dots. 

 

Henri-Edmond Cross - Valley with Fir (Shade on the Mountain)

1909

Medium: Oil on canvas

29 x 35 1/2 in. (73.7 x 90.2 cm)

Ascension: 1975.1.163

Henri-Edmond Cross is another artist who kept the neoimpressionist style going. In this painting, it is slightly more difficult to tell what is going on than in previous neoimpressionist paintings. The reason behind this is that Cross favors larger, blocky, color strokes instead of the strict dots as seen in the others. This style can be viewed as the second generation of Neo-impressionism. This style favored more emotional and expressive forms of art, resulting in much more vibrant color. The painting depicts a woman walking through the valley of a mountain surrounded by vivid colors on all sides, showing a peaceful and beautiful landscape.

Hippolyte Petitjean - Le Pont Neuf

1912-14

Medium: Watercolor and gouache on cream wove paper, upper edge torn from notebook

9 13/16 x 7 1/2 in. (25 x 19 cm)

Ascension: 1975.1.681

Hippolyte Petitjean is another example of late Neo-impressionism, choosing to use more widely spaced, rounded dots instead of Seurat’s tiny ones. It is still loyal to the delicate and difficult style, but is much more vibrant as well. Compared to the first four paintings, this piece is significantly brighter and more expressive. After all, the neo-impressionist painters like Petitjean would go on to influence Fauvism. This painting depicts a bright sunny day around a strong Paris bridge. The dots in this painting are more pronounced than in previous pieces created by the pointillism technique.