georges pierre seurat

Dust and Ashes
Josh Groban & Company
Dust and Ashes

My love and admiration for Pierre Bezukhov deepens. We would really be soul mates, if not best friends. Is there a difference? We both have been lonely, awkward, ridiculed, laughed at, lazy, numb, etc. I too crave to connect to some greater essence of humanity/higher power. We both drink too much. We ALL drink too much. God, I really hope that I haven’t wasted my life at almost twenty-four. It feels that way far too often… I’ve read books, watched films, participated, and viewed theatre, but there always seems to be something I’m missing or another regret. “Bury me in Burgundy” has become a mantra of mine. I hope “I want to wake up” becomes the next. I could go on about this song for another lifetime. 

I’ll pick up with “Sunday Morning”, ironically on Sunday morning. Tomorrow I’ll be in the city all day. I’ll be at the first preview of Sunday in the Park with George. Pierre and I might agree with Seurat and his Order, Design, Composition, Tone, Form, Symmetry, and Balance.

Happy birthday Georges-Pierre Seurat!

Some say they see poetry in my paintings,” Seurat wrote. “I see only science.” Born on this day in 1859, Seurat developed his own painting method called Divisionism, by applying unmixed paints to the canvas and leaving it to the viewer’s eye to mix the colors optically. His painting, Grandcamp, Evening, is on view on the 5th floor.

[Georges-Pierre Seurat. Grandcamp, Evening. 1885, painted border c. 1888-89. Oil on canvas. Estate of John Hay Whitney]

“Some say they see poetry in my paintings. I see only science.” Artist Georges Seurat, born this day in 1859, studied color theory and optics. Seurat applied small dots of unmixed paint to create forms, leaving it to the viewer’s eye to mix colors optically. He called his methodology “Divisionism,” but it’s more commonly known as pointillism.

[Georges-Pierre Seurat. The Channel at Gravelines, Evening, Marine avec des ancres. Summer 1890. The Museum of Modern Art, New York]

10
  • Vaso con quindici girasoli

Vincent Willem van Gogh

1888 agosto/settembre

92,1x73

National Gallery, Londra

  • La valorosa Téméraire

Joseph Mallord William Turner

1838-1839

olio su tela

90,7×121,6 cm

National Gallery, Londra

  • Campo di grano con cipressi

Vincent Willem van Gogh

1889

olio su tela

72×91 cm

National Gallery, Londra

  • Le grandi bagnanti

Paul Cézanne

1894–1905

127.2 × 196.1 cm

National Gallery, London

  • Bagnanti ad Asnières

Georges-Pierre Seurat

1884

olio su tela

201×301,5 cm

National Gallery, Londra

  • Fattorie vicino Auvers

Vincent Willem van Gogh

1890

olio su tela

50,2×103 cm

National Gallery, Londra

  • Pioggia, vapore e velocità

Joseph Mallord William Turner

1844

olio su tela

91×122 cm

National Gallery, Londra

  • Boulevard Montmartre di notte

Jacob Abraham Camille Pissarro

1897

olio su tela

53,3×64,8 cm

National Gallery, Londra

  • In barca sulla Senna (la Yole)

Pierre-Auguste Renoir

1875

olio su tela

71×92 cm

National Gallery, Londra

  • Due granchi

Vincent Willem van Gogh

1889

olio su tela

National Gallery, Londra

2

La schiena in arte.
In questo spazio sull’arte, ho voluto mettere a confronto la schiena in arte ed in pittura prendendo un’opera di Georges-Pierre Seurat (Parigi, 2 dicembre 1859 – Gravelines, 29 marzo 1891), esponente principale del Puntinismo il quale lo ricordiamo soprattutto per  il dipinto Una domenica pomeriggio all'isola della Grande-Jatte”, emblema dell’arte puntinista con una semplice foto la quale raffigura un soggetto con la schiena inclinata verso il basso e la prima cosa a risaltare è la colonna vertebrale, dove possiamo vedere come é risaltata dal bianco della pelle del soggetto.
Seurat, raffigura la schiena - elemento principale dell’opera - attraverso ombreggiature e giochi di luci fatti a matita, risaltando le membra chiare del giovane.
La colonna vertebrale, viene raffigurata in modo meno vivido ed i solchi della colonna sono particolarmente dati una una sorta di cerchio che mano a mano scompare.
Anche questa è una grande dimostrazione di come l’arte possa rappresentare il corpo in maniera evocativa e fedele al reale.