喬治·秀拉的最重要代表作《大碗島的星期日下午》(Sunday Afternoon on the Island of la Grande Jatte)標誌著新印象派這項運動開始,它於巴黎獨立藝術沙龍(Société des Artistes Indépendants)展覽首度問世[1]。法國的摩登時代高峰期大約於這個時候出現,許多畫家都在尋找新的藝術技巧。新印象派的追隨者,尤其是受到現代都市場景、風景和海岸所吸引[2]。根據科學的解釋,影響了新印象派的象征是當代藝術線條和色彩。點彩畫派經常被提到,因為它開始占據新印象派主導地位。
在新印象派運動的開始時,新印象派藝術未受到世界各地民眾的歡迎。1886年,喬治·秀拉首次展出他最著名的作品《大碗島的星期日下午》(Sunday Afternoon on the Island of la Grande Jatte),獲得壓倒性的負麵評價。這件藝術品引起騷動,被譏笑為“瘋人院”和“醜聞”。
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