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Circus Sideshow is a large oil painting on canvas measuring 99.7 × 149.9 centimetres (39.3 × 59.0 in). Painted in the Divisionist style, the work employs pointillist dots of color (primarily violet-gray, blue-gray, orange, and green) and a play of lines governed by rules whose laws Seurat had studied. [4]
The painting was Seurat's third major work treating the theme of the circus, after his Parade (Circus sideshow) of 1887–88 and Le Chahut of 1889–90. It depicts a female performer standing on a horse at the Circus Fernando (renamed the Circus Médrano in 1890, after its most famous clown).
The axes painted by Seurat do not correspond precisely to the golden section, 1 : 1.6, as might have been expected (yellow lines, so1 - so4). Rather, the axes painted in the composition correspond to basic mathematical divisions (simple ratios that appear to approximate the golden section). See Parade de cirque (Circus Sideshow) and citations ...
Circus Sideshow (Parade de Cirque), 1887–88, Metropolitan Museum of Art, New York Where the dialectic nature of Paul Cézanne 's work had been greatly influential during the highly expressionistic phase of proto-Cubism , between 1908 and 1910, the work of Seurat, with its flatter, more linear structures, would capture the attention of the ...
Georges Seurat catalogue raisonné, 1972, 188 ; The Met object ID: 437654 ; Google Arts & Culture asset ID: TQFJqSCHs_fzqg ; Artstor artwork ID: 18596794 ; Heilbrunn Timeline of Art History ; The Metropolitan Museum of Art Guide (2012 edition) Authority file:
Portrait of Seurat by Maximilien Luce. This is a list of notable paintings by Georges Seurat (2 December 1859 - 29 March 1891). He is a Neo-Impressionist painter and together with Paul Signac noted for being the inventor of pointillism. [1] The listing follows the 1980 book Georges Seurat and uses its catalogue numbers. [2]
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In their eyes, Seurat had "taken a fundamental step toward Cubism by restoring intellect and order to art, after Impressionism had denied them" (Robert Herbert, 1968). [20] The golden section does not govern Georges Seurat's Parade de Cirque (Circus Sideshow) geometric structure. Modern consensus is that Seurat never used the 'divine proportion'.