{Modern Art [continued (192)]}{Post-Impressionism: – Seurat}[Extracts from source text with ms notes][17th May 1991]

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[continued]

[Marginal notes against entire text from ms (in previous ts journal entry):]

[Square brackets below are per ms]

[For scan of ms page section placing all the parts together, see end of this ts journal entry (below)↓]

[Art = Harmony]

[Harmony “=” Contraries]

[= Similarities in Tone, Color, Line]

[ one dominant]

[ + lighting]

[Gay / Calm / Sad ]

------------------------

[Contraries:]

[Tone: Lighter/Darker]*

[Colors: Complementaries:]

[Red v. Complementary e.g.]

[Red v. Green]**

[Orange v. Blue]**

[Yellow v. Violet]**

[Line: Right-angle]***

------------------------

[Gaiety:]

[Tone: luminosity]****

[Color: warmth]#

[Line: super-horizontal]#*

------------------------

[Calmness:]

[Tone: light = Dark]#**

[Color: warm = cool]#***

[Line: Horizontal]#****

------------------------

[Sadness:]

[Tone: Dark]##

[Color: cool]##*

[Line: Down from horizontal]##**

==============

*

C

|

A~

**

	Yellow		|		Green?
		\	|	/
Orange	–	–	☼	–	–	Blue
		/	|	\
	Red		|		Violet

***

\	|	/
–	+	–
/	|	\

[In the ms the diagonals are dashed lines]

****

	C
(R~)	|	(S~)
\	|	/
–	–	–

#

	R~	|
	\	|
G~	–	|
	/	|
	J~	|

#*

\	|	/
–	–	–

#**

C

|

A~

#***

G~ –

–

– M~

#****

─

##

–	–	–
/	|	\
(J~)	|	(U~)
	A~

##*

|	S~
|	/
|	–	M~
|	\
|	U~

##**

–	–	–
/	|	\

[Scan of ms page section:]

[continued]

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{Modern Art [continued (191)]}{Post-Impressionism: – Seurat}[Extracts from source text with ms notes][17th May 1991]

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[continued]

* ‘"Aesthetics: Art is harmony, Harmony is the analogy of contraries, the analogy of similarities in tone (“ton”), color (“teinte”), and line considered under the aspect of the dominant one and under the influence of lighting in gay, calm or sad combinations.

The Contraries are:

in tone, a lighter, more luminous one in place of a darker;

in color, complementaries, that is, a certain red opposed to its complementary, red-green, orange-blue, yellow-violet, etc.;

In line, those making a right angle.

Gaiety, in tones obtained through the use of dominant luminosity;

in color, of prevailing warmth;

in line, through those above the horizontal.

Calmness, in tone, is the equality of light and dark;

in color, of warm and cool;

and the horizontal for line.

Sadness, in tone, is prevailing dark;

in color, a prevailing cool one;

and in line, directions downward from the horizontal.

*

**

***

*[Marginal notes against entire text from ms are in next ts journal entry, together with a scan of the ms page section]

**[Quote continues in next ts journal entry but one]

**** – ibid [Encyclopaedia of Visual Art 5:806]

[Source text continues from last previous ts journal entry]

[Source text continues in next ts journal entry but one]

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[continued]

‘“Le Pont et les Quais à Port-en-Bessin” of 1888[ce] (Minneapolis Institute of Arts) is typical of the melancholic mood, the air of displaced reality, and the essential harmony that characterize them* all. Seurat's method—as it was applied to his later work—was codified in a letter of 1890. It is worth quoting in full.**

***

*(his landscapes)

**[See next ts journal entry]

*** – ibid [Encyclopaedia of Visual Art 5:806]

[Source text continues in next ts journal entry]

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{Modern Art [continued (189)]}{Post-Impressionism: – Seurat}[Extracts from source text with ms notes][17th May 1991]

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‘Another critic reported Seurat as saying:

“The Panathenaea of Phidias (the Parthenon frieze) was a procession. I want to show the moderns moving about on friezes in the same way, stripped to their essentials, to place them in paint arranged in harmonies of colours – through the direction of hues – in harmonies of lines – through their orientation – line and color fitted for each other.”’

*

* – ibid [Encyclopaedia of Visual Art 5:806]

[Source text continues from last previous ts journal entry]

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{Modern Art [continued (188)]}{Post-Impressionism: – Seurat}[Extracts from source text with ms notes][17th May 1991]

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‘Spatial ambiguities and arbitrary elements increase in Seurat's later work. In 1886[ce] he met Charles Henry (1859-1926[ce]), aesthetician and mathematician, and was greatly influenced by Henry's theories of the emotional characters of linear directions.’*

**

*NB:

** – ibid [Encyclopaedia of Visual Art 5:806]

[Source text continues in next ts journal entry]

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{Modern Art [continued (187)]}{Post-Impressionism: – Seurat}[Extracts from source text with ms notes][17th May 1991]

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[continued]

‘Some critics referred to Egyptian art and Quattrocento* painting, even to Kate Greenaway.’

**

*[15^th century ce – Early Italian Renaissance]

** – ibid [Encyclopaedia of Visual Art 5:806]

[continued]

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[continued]

‘As Signac wrote later: “The technique of the Impressionists is instinctive and instantaneous,* that of the Neo-Impressionists is deliberate and constant.”**

***

*R~

**S~?

*** – ibid [Encyclopaedia of Visual Art 5:806]

[Source text continues from last previous ts journal entry]

[continued]

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{Modern Art [continued (185)]}{Post-Impressionism: – Seurat}[Extracts from source text with ms notes][17th May 1991]

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[continued]

‘One painting ... imposed itself on the rest:* Seurat’s “Sunday Afternoon on the Island of the Grande Jatte” (now in the Art Institute of Chicago).’

**

‘Instead of a haphazard, variable brushstroke, there was a fairly uniform dot of paint (hence, “Pointillism”). Instead of mixing colours on the palette, they were juxtaposed on the canvas: optical mixture gave much greater luminosity and vibration (hence, “Divisionism”).

**

*[ – at the exhibition referred to in the last previous ts journal entry]

** – ibid [Encyclopaedia of Visual Art 5:806]

[Source text continues in next ts journal entry]

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{Modern Art [continued (184)]}{Post-Impressionism: – Seurat}[Extracts from source text with ms notes][17th May 1991]

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[continued]

‘Pissarro was characteristically generous, as well as historically correct, in acknowledging Seurat’s primacy in the forging of the new style. And it seems ironical* that the first public manifestation of Neo-Impressionism took place at the last Impressionist exhibition in May 1886[ce].’

**

*[sic]

** – ibid [Encyclopaedia of Visual Art 5:] 806

[Source text continues from last previous ts journal entry]

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