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Product Identifiers

PublisherUniversity of California Press

ISBN-100520242106

ISBN-139780520242104

eBay Product ID (ePID)30223686

Product Key Features

Book TitleSeurat : and the Making of La Grande Jatte

Number of Pages280 Pages

LanguageEnglish

TopicIndividual Artists / General, History / Modern (Late 19th Century to 1945), Criticism & Theory, Collections, Catalogs, Exhibitions / General, Museum Studies, European

Publication Year2004

IllustratorYes

GenreArt

AuthorGeorges Seurat, Robert L. Herbert

FormatHardcover

Dimensions

Item Height1.2 in

Item Weight72.9 Oz

Item Length10.4 in

Item Width11.8 in

Additional Product Features

Intended AudienceTrade

LCCN2004-041138

Dewey Edition22

Dewey Decimal759.4

Synopsis"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 "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. 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 preparatory works, ranging from rich conteacute; 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 work. Seurat scholar Robert L. Herbert makes new revelations about the painting's relationship to its preparatory studies, stressing Seurat's empirical craftmanship. He compares La Grande Jatte to paintings by Monet, Renoir, Pissarro, and Signac and analyzes the ways that twentieth-century critics, including Meyer Schapiro, T.J. Clark, and Linda Nochlin, have viewed the picture. He 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 Berns traces the efforts to digitally recapture the original hues of Seurat's time-altered masterpiece. 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., "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 "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. 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 preparatory works, ranging from rich cont 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 work. Seurat scholar Robert L. Herbert makes new revelations about the painting's relationship to its preparatory studies, stressing Seurat's empirical craftmanship. He compares La Grande Jatte to paintings by Monet, Renoir, Pissarro, and Signac and analyzes the ways that twentieth-century critics, including Meyer Schapiro, T.J. Clark, and Linda Nochlin, have viewed the picture. He 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 Berns traces the efforts to digitally recapture the original hues of Seurat's time-altered masterpiece. 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., "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 "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. 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 preparatory 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 work. Seurat scholar Robert L. Herbert makes new revelations about the painting's relationship to its preparatory studies, stressing Seurat's empirical craftmanship. He compares La Grande Jatte to paintings by Monet, Renoir, Pissarro, and Signac and analyzes the ways that twentieth-century critics, including Meyer Schapiro, T.J. Clark, and Linda Nochlin, have viewed the picture. He 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 Berns traces the efforts to digitally recapture the original hues of Seurat's time-altered masterpiece. 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.

LC Classification NumberND553.S5A68 2004b