Seurat, A Sunday on La Grande Jatte

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Seurat, A Sunday on La Grande Jatte발음듣기

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[Intro Music] Some say they see poetry in my paintings, I see only science.발음듣기

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We're in the Art Institute of Chicago, and we're looking at Sunday Afternoon on the Isle of Grande Jatte by Georges Seurat.발음듣기

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And that was a quote by Seurat, whose ambition was to bring science to the methods of impressionism.발음듣기

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What's interesting is that the science that he was thinking about has been, to some extent, overturned and we were left with the poetry.발음듣기

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The science that he was referring to had to do with ways of making the painting seem more luminous, to seem brighter.발음듣기

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And I have to say, he has really succeeded.발음듣기

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This is a painting that is brilliantly luminous, and incredibly complex when it comes to color.발음듣기

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So he has taken the earlier traditions of impressionists and he's imposing on them the science of vision.발음듣기

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And especially the science of color, that had been developed by Chevreui and Rood.발음듣기

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He was interested in this idea of dividing color into its components.발음듣기

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That is, instead of trying to find the perfect purple, which is really hard to do.발음듣기

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You mean, when you mix it on your palette.발음듣기

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Well, that's right. And the reason is when you take, say, a blue and a red, and you mix them together, that red is not pure red.발음듣기

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It's got lots of other things in it.발음듣기

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The blue is not pure, so when you mix them together it gets too muddy.발음듣기

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So how do you get a pure purple that you might see in nature?발음듣기

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Well, Seurat's solution was to take the red, take the blue and put them next to each other.발음듣기

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So that as your eye receives that light, the light waves do the mixing themselves.발음듣기

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Right, and this is called the optical mixture.발음듣기

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And this is really a change from academic technique of finding that local color of an object, mixing it on your palette and then applying it.발음듣기

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And if you think back to the impressionist project, what the impressionists sought after was to really create a sense of outdoor light.발음듣기

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And I think using this divisionist method, this idea of optical mixture, Seurat really did that in the Grande Jatte.발음듣기

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We have a real sense of Parisians outside on a sunny day, and a real strong sense of sunlight streaming through the trees.발음듣기

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So clearly there's this bridge back to impressionism, and in fact, the artist uses the term neo-impressionism when he describes the kind of painting that he was doing.발음듣기

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And yet, this is also so far away from impressionism.발음듣기

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It's got the leisure of the impressionist painting; it's got the outside.발음듣기

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But this is not a painting that was painted plein air.발음듣기

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This was not done directly before the subjects.발음듣기

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He did do small sketches. Actually dozens of drawings, and oil sketches outside, that's right.발음듣기

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But then he goes back to the studio, and makes this very composed very carefully structured painting.발음듣기

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In fact, he said that he wanted his figures to have a kind of a solemnity that was found in the sculptures of the Friars of the Parthenon.발음듣기

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Right, so he's really wanting to bring a sense of timelessness and classicism to the art of impressionism.발음듣기

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And also, as you said, a sense of thoughtfulness, of composing, of not doing something spontaneous.발음듣기

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The figures are remarkably structured within this space.발음듣기

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And the space itself is also remarkably organized.발음듣기

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There's much more of an illusion of space, then we would ever get in an impressionist painting.발음듣기

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Well, almost going back to the classical tradition of landscape painting of Claude or of Poussin who have alternating shadow and light which steps us back slowly into space.발음듣기

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And we also have a receding diagonal line that creates an illusion of space.발음듣기

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And yet at the same time, this is a painting, because of its technique, that really draws our eye to the surface of the canvas.발음듣기

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So this is really interesting tension that exists between this depictorial space and the very obvious heavily worked surface.발음듣기

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Let's go up really close and take a look.발음듣기

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So I'm looking at the lower left corner of the painting.발음듣기

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And I'm looking at the man who is smoking a pipe, leaning on his back.발음듣기

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Take a close look at the way that his body is defined.발음듣기

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You can see some of the earlier painting.발음듣기

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I see blues; I see reds; and I see yellows.발음듣기

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All fairly long strokes. But then I also see painted over that little points of color: of pinks and of blues as well, that Seurat actually added a bit later.발음듣기

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And you can see that, especially in the shadows and the highlights, at the top and the bottom where Seurat, in a sense, creates a kind of a volume.발음듣기

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And as we are looking at all of these different brush strokes that are layered one on the other.발음듣기

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I'm also noticing how the figure has really clear contours, which is something that we don't see in impressionism.발음듣기

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So we have sense of line here, and a form defined by line, and even modeling.발음듣기

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So the figure really seems three dimensional.발음듣기

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We know that we are in the North West of Paris, in a place that was frequented by the middle and upper classes for leisure.발음듣기

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We know that the other side of the river was frequented more by working class figures.발음듣기

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And so there's this question of what Seurat is saying about class in Paris in the 19th century.발음듣기

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And here, art historians really disagree.발음듣기

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And it's in part because there's a lot of ambiguity.발음듣기

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The ambiguity of class was an issue of his moment, of his time.발음듣기

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Class was enormously important, and had always been in French society absolutely clear, but the city has had a way of now mixing classes and this was a modern phenomenon.발음듣기

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There was a way that clothing and fashion now blurred class distinctions that were more clear before.발음듣기

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One of the things that Seurat is doing is he's confounding the expectations of a typical viewer in the end of the 19th century.발음듣기

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So where someone would expect to see a narrative or a pretty story that was easily readable between the figures, a sense of sentiment or emotion.발음듣기

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Seurat is not giving us that.발음듣기

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We have figures who don't talk to each other, don't interact; 발음듣기

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we don't have a sense of a clear narrative.발음듣기

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It just doesn't do what 19th century viewers wanted paintings to do.발음듣기

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So this painting was a challenge, not only for that typical viewer that you spoke of, but for the art community as well.발음듣기

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When this painting was first exhibited in the 1886 it caused a real stir.발음듣기

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Artists divided into camps supporting it or detracting from it.발음듣기

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Well, it was so different than anything anyone was doing. I mean, it exploded what the most advanced art of the time was.발음듣기

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At that point in 1884,1886 the most advanced art was impressionist technique of open brush work, open contours, paintings painted onsite, outside on plein air with a sense of spontaneity capturing outdoor light.발음듣기

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Seurat took all that and turned it on its head and created something really serious, and monumental, and classical, and thoughtful;발음듣기

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and everyone had to come to terms with it. [Outro Music] 발음듣기

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