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Georges Seurat first studied art at the École Municipale de Sculpture et Dessin, near his family's home in the boulevard Magenta, which was run by the sculptor Justin Lequien. [ 12 ] [ 13 ] In 1878, he moved on to the École des Beaux-Arts where he was taught by Henri Lehmann , and followed a conventional academic training, drawing from casts ...
Georges Seurat, Study for "A Sunday Afternoon on La Grande Jatte", 1884, oil on canvas, 70.5 x 104.1 cm, Metropolitan Museum of Art, New York Georges Seurat painted A Sunday Afternoon between May 1884 and March 1885, and from October 1885 to May 1886, focusing meticulously on the landscape of the park [2] and concentrating on issues of colour, light, and form.
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]
Jun. 23—In his masterpiece "A Sunday Afternoon on the Island of La Grande Jatte," the French post-Impressionist Georges Seurat demanded that the world look at art in a shocking new way. He never ...
The Circus (French: Le Cirque) is an oil on canvas painting by Georges Seurat. It was his last painting, made in a Neo-Impressionist style in 1890–91, and remained unfinished at his death in March 1891. The painting is located at the Musée d'Orsay in Paris.
It is best known as the setting for Georges Seurat's pointillist oil painting A Sunday Afternoon on the Island of La Grande Jatte (1884-1886), itself the inspiration for the musical Sunday in the Park with George (1984). Pont de Levallois–Bécon Métro station lies close to the north-eastern end of the island. [1]
This page was last edited on 29 December 2020, at 00:48 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
Seurat completed the painting of Bathers at Asnières in 1884, at 24 years old. He applied to the jury of the Salon of the same year to have the work exhibited there, only to be rejected. The Bathers continued to puzzle many of Seurat’s contemporaries, and the picture would only be widely acclaimed many years after the artist's death (age 31).
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