乔治·秀拉的最重要代表作《大碗岛的星期日下午》(Sunday Afternoon on the Island of la Grande Jatte)标志着新印象派这项运动开始,它于巴黎独立艺术沙龙(Société des Artistes Indépendants)展览首度问世[1]。法国的摩登时代高峰期大约于这个时候出现,许多画家都在寻找新的艺术技巧。新印象派的追随者,尤其是受到现代都市场景、风景和海岸所吸引[2]。根据科学的解释,影响了新印象派的象征是当代艺术线条和色彩。点彩画派经常被提到,因为它开始占据新印象派主导地位。
在新印象派运动的开始时,新印象派艺术未受到世界各地民众的欢迎。1886年,乔治·秀拉首次展出他最著名的作品《大碗岛的星期日下午》(Sunday Afternoon on the Island of la Grande Jatte),获得压倒性的负面评价。这件艺术品引起骚动,被讥笑为“疯人院”和“丑闻”。
Georges Seurat admired the bright palette of the Impressionists, but he wanted to ground his approach in sound principles of structure and color behavior. Working in Paris in the mid-1880s, the young artist turned to scientific theories of optics and color perception as the basis for his art, which became known as Neo-Impressionism. His methods called for the use of dotted brushstrokes applied according to rules of color behavior. In 1886, he first exhibited Sunday at the Grande Jatte, the monumental painting that has become the most representative work of the movement. After a controversial debut in Paris, the painting traveled to Brussels. While Seurat's novel style confounded most viewers, it attracted an enthusiastic band of progressive artists in France, Belgium, and the Netherlands.
Science, vibration, pigments side by side, masively/collectively, industrial revolution effects/echo, i think
Scholars have examined the paintings they produced from several perspectives: as the application of science to art, as social commentary, as a reflection of political philosophies, and as a precursor to many concepts of 20th-century aesthetics. Perhaps because Seurat's great initiative was rooted in the desire to re-create natural light and the sensation of brilliant color, the primary vehicles for analyzing the technique have been landscapes, marines, and scenes of urban life. As a result, Neo-Impressionist portraits have received scant attention.
The first Neo-Impressionist portraits were painted in Paris in the 1880s, decades after the invention of photography had made realistic likenesses widely available. While physical resemblance remained a basic component of portraiture, artists of the era were also free to emphasize their individual techniques, their pursuit of psychological or spiritual identity, and their rapport with their subjects.
sleeve, dresss -->loose, short ---> liberty