Book Description
"Bedlam," "scandal," and "hilarity" were among the epithets used to describe the effect of what is now considered Georges Seurat's greatest work, and one of the most remarkable paintings of the nineteenth century, when it was first exhibited in Paris in 1886. A Sunday on La Grande Jatte--1884, an extensive landscape peopled with over forty figures, took the artist almost two years to complete. Inspired by research in optical and color theory, Seurat juxtaposed tiny dots of colors on the canvas that form a single and more brilliantly luminous hue in the viewer's eye. This sumptuous book, created to accompany a major exhibition at the Art Institute of Chicago, provides a fascinating, in-depth examination of the gestation, execution, and influence of Seurat's masterpiece.
La Grande Jatte has been part of the Art Institute of Chicago's collection since 1926. Bringing together all known studies and drawings directly related to the painting, this volume provides a visual and contextual survey of Seurat's working methods and aesthetic priorities, as well as the evolutionary process that culminated in his singular achievement. Included are more than fifty-five prepartory works, ranging from rich conte crayon drawings to oil sketches on small wood panels to larger studies painted on canvas. In their quantity, intricacy, and variety, these works reveal a compositional process that harks back to Old Master traditions and methods, which had been largely abandoned by Seurat's immediate predecessors, the Impressionists. The many studies attest to the artist's ambitions for his masterpiece and open up a broader context for understanding the painting.
Robert L. Herbert, who has written extensively on the artist, traces Seurat's beginnings in the context of Barbizon painting and Impressionism. Works by Monet, Pissarro, and Renoir are included, as well as a discussion of La Grande Jatte's influence on contemporary art and Seurat's impact on twentieth-century artists such as Leger and others from the School of Paris. An accompanying essay by Neil Harris assesses La Grande Jatte's iconic status in Chicago and beyond, considering a history of the painting's promotion, presentation, and exhibition. A landmark publication, this book provides dazzling proof of why La Grande Jatte is among the most frequently reproduced paintings in the world and why it continues to fascinate scholars and art lovers today.
From the Back Cover
"The miracle of La Grande Jatte is its coincidence of critical distinction and popular celebration. High, low, mass, and popular cultures meet in mutual delight, continuing to revel in the mysteries of that Parisian Sunday."--from "The Park in the Museum" by Neil Harris
About the Author
Robert L. Herbert is Andrew W. Mellon Professor Emeritus of Humanities at Mount Holyoke College. Among his publications are Seurat's Drawings (1962), Impressionism: Art, Leisure, and Parisian Society (1988), Monet on the Normandy Coast: Tourism and Painting (1994), Nature's Workshop: Renoir's Writings on the Decorative Arts (2000), and Seurat: Drawings and Paintings (2001). Neil Harris is Preston and Sterling Morton Professor of History at the University of Chicago. Among his publications is Chicago's Dream, a World's Treasure: The Art Institute of Chicago, 1893-1993 (1993).
Seurat and the Making of La Grande Jatte FROM THE PUBLISHER
"Seurat and the Making of "La Grande Jatte" provides an in-depth exploration of one of the world's most renowned paintings, A Sunday on La Grande Jatte - 1884 by Georges Seurat. The catalogue accompanies the first comprehensive exhibition of La Grande Jatte and its many related drawings and oil paintings. Seurat scholar Robert L. Herbert makes new revelations about the painting's relationship to its preparatory studies, stressing Seurat's empirical craftsmanship. He compares La Grande Jatte to works by Monet, Pissarro, Renoir, and Signac, also in the exhibition, and analyzes the ways that twentieth-century critics, including Meyer Schapiro, T.J. Clark, and Linda Nochlin, have viewed the picture. Herbert proposes that the enduring fascination of the famous canvas comes from Seurat's mixture of fashion and irony." Also giving new perspectives in this book, the noted cultural historian Neil Harris charts how and why La Grande Jatte attained its revered status at the Art Institute of Chicago and throughout the United States. Additionally, the exhibition's cocurators examine the painting's place in the museum's collection. Essays by Art Institute conservators show how Seurat transferred and altered figures from studies to final canvas and elucidate the exact nature of his pigments and brushwork. Color scientist Roy S. Berns traces the efforts to digitally recapture the original hues of Seurat's time-altered masterpiece.
SYNOPSIS
This catalogue accompanying a blockbuster exhibition at The Art Institute of Chicago in summer 2004 is THE major study of Georges Seurat's masterwork, A Sunday Afternoon on La Grande Jatte--1884. It traces the painter's artistic development and provides a new context for understanding the painting and its historical, cultural, and artistic significance.
FROM THE CRITICS
Christopher Benfey - The New York Times
Seurat's preparatory drawings to his most famous painting, nicely reproduced here, are beyond praise. Robert L. Herbert, the distinguished scholar of Impressionism, shows how Seurat introduces irony (embodied in his curly-tailed monkey and scooting dog) into the proceedings, while the historian Neil Harris provides a lively account of the battle of two pictures: he tells us how Seurat's masterpiece replaced another beloved image, Jules Breton's sentimental ''Song of the Lark'' -- made famous by Willa Cather's novel of the same title -- as the signature painting of the Art Institute of Chicago.
Art & Photography
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