Beruflich Dokumente
Kultur Dokumente
Seurat was born in a very rich family in Paris. His father, Antoine
Chrysostom Seurat, was a legal official and a native of
Champagne; his mother, Ernestine née Faivre, was Parisian.
His last ambitious work, The Circus, was left unfinished at the
time of his death.
Scientific Influences
During the 19th century, scientist-writers such as Michel Eugène
Chevreul, Nicholas Ogden Rood and David Sutter wrote
treatises on color, optical effects and perception. They were
able to translate the scientific research of Helmholtz and
Newton into a written form that was understandable by non-
scientists.
Chevreul also realized that the 'halo' that one sees after looking
at a color is actually the opposing, or complementary, color. For
example: After looking at a red object, one may see a green
echo/halo of the original object. This complementary color (as an
example, green for red) is due to retinal persistence.
In his works Chevreul advised artists that they should not just
paint the color of the object being depicted, but rather they
should add colors and make appropriate adjustments to achieve
a harmony. It seems that the harmony Chevreul wrote about is
what Seurat came to call 'emotion'.
Seurat Blends Science and
Emotion
Seurat took to heart the color theorists' notion of a
scientific approach to painting.
Seurat believed that a painter could use color to create
harmony and emotion in art in the same way that a
musician uses variation in sound and tempo to create
harmony in music.
Seurat theorized that the scientific application of color
was like any other natural law, and he was driven to
prove this conjecture.
He thought that the knowledge of perception and
optical laws could be used to create a new language of
art based on its own set of heuristics and he set out to
show this language using lines, color intensity and
color schema.
Seurat called this language Chromoluminarism.
Seurat's theories can be summarized as follows: