Georges Seurat, Bathers at Asnieres, 1884
Georges Seurat, La Tour Eiffel, 1889
Georges Seurat, 1883, The Harnessed Horse
Georges Seurat, 1886, Model in Profile, Model from the Front, Model in from the Back
Charles Angrand, 1890, The Harvest
Paul Signac, 1890, Portrait of Felix Feneon
Felix Feneon, a French art critic working at the turn of the century, was a prominent promoter of the Neo-impressionists. This portrait of him by Signac actually has a much longer title, beginning with ‘Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints’.
Philip Wilson Steer, 1886-9, Knucklebones
In 1889, this painting was shown at the Goupil Gallery in the only exhibition of the London Impressionists. This show involved just ten artists, the most well known being Walter Sickert, his younger brother Bernard, Sydney Starr and Theodore Roussel.
ARTIST OF THE WEEK: Georges Seurat, 1859-1891
One of my earliest memories of a painting was seeing A Sunday Afternoon on the Island of La Grand Jatte by Seurat on a small piece of card as part of a picture-based board game we had at home. I could never remember the whole title, or even the artist’s name, but the image stayed with me.
Seurat was a French Post-Impressionist painter and father of the Pointillist style, along with friend and associate Paul Signac, (Seurat and Signac, I still manage to get these two muddled up). Pointillism is a technique that uses small individual dots or splodges of single colour to create an image when seen as a whole. Like the term ‘Impressionism’, ‘Pointillism’ was originally coined as an insult, but has since become the standard term for paintings of this style.
Andre Derain, 1906, Big Ben
The Town Beach, Collioure by Paul Signac, 1888
La Seine and la Grand Jatte by Georges Seurat, 1888
The Guardian of Turkeys by Charles Angrand, 1881
Maison de Van Gogh by Paul Signac, 1933
The Harvesters by Charles Angrand, 1892. Despite the presence of cool colours in the figures, Angrand’s piece evokes real afternoon warmth. I always think the Pointillist style works extremely well when depicting natural light in an outdoor scene.
Breakfast by Paul Signac, 1886-87. I really like the colour scheme here and the way Signac has created a soft light using warm orangey tones to highlight forms, (especially on the gentlemen figure’s clothes).