乔治·修拉(Georges Seurat)高清作品《星期日我们有大碗1884年-》

作品名：星期日我们有大碗1884年-

艺术家：乔治·修拉

年代：1884年至1886年法国；

风格：点彩

类型：风俗画

材质：布面油彩

标签：动物，狗，夫妇，河流和瀑布，花园和公园，法国，Grande Jatte

尺寸：207.5 X 308.1厘米

收藏：芝加哥艺术学院，芝加哥，IL，美国

乔治·修拉在他的最著名和最大的画作中，描绘了人们在塞纳河中的一个叫拉格兰德·贾特的岛上的郊区公园里放松。从1884年开始，这位艺术家在几次运动中致力于绘画，用一层互补颜色的小水平笔触。后来，他又添加了一些小点，颜色也互补，当从远处看时，这些小点呈现出坚实而明亮的形式。修拉使用这种高度系统化和“科学”的技术，后来被称为点主义，使他的艺术与更直观的绘画方法区别开来。印象派画家使用的虽然瑟拉特拥抱了诸如克劳德·莫奈和皮埃尔·奥古斯特·雷诺阿这样的艺术家所喜爱的现代生活的主题，但是他超越了他们对捕捉自然界中偶然和瞬间的光的特征的关注。修罗试图通过回忆过去的艺术，特别是埃及和希腊的雕塑，甚至意大利文艺复兴时期的壁画，来唤起永恒。他向法国诗人Gustave Kahn解释说：“菲迪亚斯的泛雅典人组成了队伍。我想让现代人，在他们的本质特征上，像他们那样在画布上走来走去，把它们放在由色彩的和谐组织起来的画布上。然而，一些当代评论家发现他的人物与其说是对早期艺术史的点头，不如说是对装束和艺术的评论。现代巴黎社会的真实性。Seurat于1889对拉格朗德JATTE作了最后的改变。他重新蚀刻画布，以便增加一个红色，橙色和蓝色点画边界，提供了一个视觉过渡之间的绘画内部和他特别设计的白色框架。

Title:A Sunday on La Grande Jatte -1884

artist:Georges Seurat

Date:1884 - 1886; France

Style:Pointillism

Genre:genre painting

Media:oil,canvas

Tag:animals,dogs,couples,rivers-and-waterfalls,gardens-and-parks,France,Grande-Jatte

Dimensions:207.5 x 308.1 cm

Location:Art Institute of Chicago, Chicago, IL, US

In his best-known and largest painting, Georges Seurat depicted people relaxing in a suburban park on an island in the Seine River called La Grande Jatte. The artist worked on the painting in several campaigns, beginning in 1884 with a layer of small horizontal brushstrokes of complementary colors. He later added small dots, also in complementary colors, that appear as solid and luminous forms when seen from a distance.Seurats use of this highly systematic and scientific technique, subsequently called Pointillism, distinguished his art from the more intuitive approach to painting used by the Impressionists. Although Seurat embraced the subject matter of modern life preferred by artists such as Claude Monet and Pierre-Auguste Renoir, he went beyond their concern for capturing the accidental and instantaneous qualities of light in nature. Seurat sought to evoke permanence by recalling the art of the past, especially Egyptian and Greek sculpture and even Italian Renaissance frescoes. As he explained to the French poet Gustave Kahn, The Panathenaeans of Phidias formed a procession. I want to make modern people, in their essential traits, move about as they do on those friezes, and place them on canvases organized by harmonies of color. Some contemporary critics, however, found his figures to be less a nod to earlier art history than a commentary on the posturing and artificiality of modern Parisian society.Seurat made the final changes to La Grande Jatte in 1889. He restretched the canvas in order to add a painted border of red, orange, and blue dots that provides a visual transition between the interior of the painting and his specially designed white frame.