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A Sunday on the Grande Jatte—1884

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Description: A Sunday on the Grande Jatte—1884
Related content: Chapters (5) Images (47)

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Description: The Power of Color: Five Centuries of European Painting
~~Beginning in the 1880s, painters introduced color that did not represent visual reality. Turning away from materialism and what they often described as decadent urban society, these painters delved inside themselves for ways to express the values they held dear. Although disassociated from institutional religion, Paul Gauguin and...
PublisherYale University Press
Related print edition pages: pp.229-253
https://doi.org/10.37862/aaeportal.00228.007
Description: Art of the Actual: Naturalism and Style in Early Third Republic France,...
~~The centrality that the naturalist aesthetic established in the visual arts in the 1880s and 1890s was in substantial part based on its stylistic flexibility as a means of representation – the descriptive allowing scope for a plurality of touch, tone and surface – and so its ability to embrace a wide range of artistic...
PublisherYale University Press
Related print edition pages: pp.143-183
https://doi.org/10.37862/aaeportal.00022.008
Description: Art and the French Commune: Imagining Paris after War and Revolution
~The generation that followed the Impressionists experienced the Commune and its repression as a childhood trauma and their attempt to achieve a more monumental expression of modernity represents not only a...
PublisherPrinceton University Press
Related print edition pages: pp.140-185
https://doi.org/10.37862/aaeportal.00021.009
Description: Georges Seurat: The Art of Vision
When A Sunday on the Grande Jatte—1884 (Un Dimanche à la Grande Jatte—1884) was exhibited by Seurat in 1886 and 1887, it was understood by many critics within two seemingly unrelated interpretive frameworks (fig. 42). A number of critics focused on the artist’s pointillist method of paint application, that is, on...
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00057.005
Description: Seeing Through Paintings: Physical Examination in Art Historical Studies
Technical examination of the paint layer can confirm a work’s age or authenticity and add to knowledge of the painting’s execution and the artist’s intended effects. Examination can address either the materials or the ways they were handled—the techniques. Study of paint materials offers information that is specific but of limited interpretive use to the art historian. Pigment identification can deny (but rarely confirm) a paintings age, or can identify areas of repaint. Precise identification …
PublisherYale University Press
Related print edition pages: pp.101-210
https://doi.org/10.37862/aaeportal.00110.006

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