Georges Pierre Seurat. Hermeneutics blue
These days, the artist celebrates his birthday, who created the most sophisticated style within impressionism – pointillism. Yesterday, the group administrators were surprisingly unanimous, each paying tribute to the early departed 19th-century French artist Georges Pierre Seurat. His experiments with color and his style predetermined the development of everything from art nouveau to pop art, which continues to excite a person tempted by well-being.
After the revolution, French women had to give up heels in favor of something similar to modern ballet shoes, so as not to suspect bourgeois arrogance. By the middle of the 19th century, France’s manners became stricter again. So France will be driven like a pendulum, from severity to emancipation, and the whole future XX century and in our time. Jean Pierre Seurat (1859 – 1891) is an artist of precise and point touch, his brush does not go across the canvas, as is customary to imagine, and does not dance with strokes, his needle technique recognizably makes his paintings grainy.
When Sera was born, the pendulum, swinging, froze at the point of extreme severity. The combination of old and new gives rise to originality; mediocrity is made up of one thing: either ultra-old or ultra-new. France after the Napoleonic Wars with a real artistic flair is able to go to originality. This desire for balance out of a sense of self-preservation was expressed by Edgar Poe in the short story “The Well and the Pendulum”. Umberto Eco spreads this image throughout Europe – maintaining balance within the petals of different views, currents and styles.
It seems easier to cut the pendulum string, but then the clock will stop – this is what all former empires succeed in and through. Sera in his short life managed to create the most non-imperial style – pointillism. As if he was holding in his hand not a brush, but this heavy copper cone by a string. Far from politics, Seurat with his style affirms the ideal of France retaining this harmony. He is criticized for the fact that the work is boring, women are cold and indifferent, men look at them through a glass of monocle. He ignores criticism and composes theoretical and philosophical works.
And France, as if obedient to the artist’s brush, is shifting to the republic and is already irrevocably. The sharpness of not movement is important here – the optic nerve, closer or further from the canvas, the distance acts as a microscope. Seurat removes his monocle from a slightly detached Monsieur and puts colored convex spots on this glass to form a common image – a pile of metal molecules soaring upward. Camille Pissarro, a pupil of Jean Baptiste Camille Corot, who has become synonymous with French color, is delighted with this discovery of Seurat.
France is experiencing a new birth of the Republic, already the third in a row. The real course of the Seine (on the left bank – workers, on the right – the bourgeoisie) framed by a gloomy dark soaked stone, which laid the pavement. Along the promenade on a stone moss. The trees are planted in rows and cover the sun, blue-gray roofs hang over them, light-beige facades no higher than five floors appear through them. The French, carefully guarded by their architecture, behave, as the artist sees it, as sleepy “bathers in Agnier”.
At first, the impudent creation of engineer Eiffel in Parisians, restaurant people, evokes skepticism uniting the nation: “Baron Osman – he killed Paris,” but Sera puts fireworks on his glass and the spectator, peering through them, reveals his living nature, as if examining ambitions under a microscope and emotions. France, then, as a ballerina, stays in the shadow of her desires. And from the same mosaic, Sera is composed by the Kankan (1890), now stored in the Netherlands, in the Kroeller Muller Museum, proving to skeptics that the baron has set up a plan that is more suitable for life.
The boulevards of Paris, created to the length of the dancer’s legs, are revealed in the new style of Seurat and ordinary to compare it with the beads streaming in different combinations. The artist himself most likely would have liked a comparison with bacteria after heart, and he had the honor of being born in the same year with the release of Darwin’s book. So Sera, doomed to a common anniversary with the theory of evolution, experienced the influence of not only the Impressionists Ingres and Delacroix, but also the organic chemist Eugene Chevreul, who proved with the discovery of creatine that a light, non-inert positive is important in life.