George Seurat – 1859 – 1891
- Post impressionist painter and draughtsman.
- Developer along with Paul Signac of Pointillism
- juxtaposed small dots of pure colour, intended to combine and blend not on the canvas but in the viewer’s eye.
Bathing at Asnieres important painting, – towards Pointillism. This was not originally pointillist at all but certain areas were revisited and the dots added for more vibrant colour.
By 1888 when this picture was painted it is apparent that the artist is becoming bolder with this style and the dots are more apparent giving a soft quality to the picture. There are no lines at all these are created only by change in colours of the dots.
Eiffel Tower 1889
Of the three paintings I have looked at here, by Seurat, this is by far my favourite. Now the dots are larger and less ordered. The Tower itself is almost disappearing into the sky. It is painted in the same pallet as the rest of the picture and the whole picture has an autumnal feel. It is almost abstract but still an identifiable.
Paul Signac 1863 – 1935.
- French neo-impressionist painter
- working with Georges Seurat, helped develop the pointillist style
- originally trained as an architect
Painted by P Signac, I find this very clean to view, it uses a limited palette, blues and oranges which are complementary and therefore accentuate each other and yellows and greens softer on the eye.
The dots here are evenly, but tightly painted which gives an overall smoothness.
This painted a little later with more vibrant colour and larger dots.
Not so gentle on the eye but the size of the dots and bright colours giving a more realistic representation of foliage.
The Pine Tree at Saint Tropez, 1909
Whilst looking for information on op art I read the article on the Op-art.co.uk website below.
Above two examples of Op Art. Op Art is designed to fool the eye by using colour and line to create movement or the illusion of it. The the picture Galaxie by Victor Vasarely one is not sure whether the smaller central square is at the back or front kof the picture, and the Bridge Riley picture creates a simulated movement bye the use of black white and navey lines.
Op art also optimises the colour theories that we have been looking at previously. By using complementary colour, the colours are boosted by each other increasing the effect of the illusion.