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The Georgicks of Virgil, with an English Translation and Notes Virgil, John Martyn Ipsi in defossis specubus secura sub alta Otia agunt terra, congestaque robora, Pierius says it is confecto in the Roman manuscript. And Tacitus also says the Germans used to make caves to defend them from the severity of winter, .

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Indeed, for La Grande Jatte he made over seventy preliminary drawings and oil sketches. For more about the two main traditions, and how they related to each other, see: Realism to Impressionism c. In , after studying at the Ecole des Beaux-Arts , followed by a short spell of military service, Seurat opened a small painter's studio in Paris while continuing his studies on the tonal effects of colour , with a series of conte crayon drawings. He was determined to develop an intellectual style of painting that would open up new possibilities for art.

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The technique he settled on - later nicknamed ' Pointillism ' by the art critic Felix Feneon - involved the use of small touches of pure colour, which are not mixed but placed side by side on the canvas. When viewed from a certain distance, these touches of colour blend together. In effect, the colour pigments are mixed together by the eye, rather than by the artist.

The whole idea is to make the colours more luminous and shimmering than they would be if mixed on the palette. Although rejected by the official Paris Salon , the work was shown at the Salon des Independants , an alternative event co-founded by Seurat himself, where he met fellow pointillists Paul Signac and Henri-Edmond Cross , who helped him to further develop the idiom.

It was exhibited for the first time in May at the final Impressionist exhibition: an ironic occurrence since the work is now seen as one of the first major examples of Post-Impressionist painting The huge work 7 feet in height; 10 feet in width caused a sensation. Not only did it exude a shimmering impression of warm, hazy sunshine, but the stylized, statuesque nature of its figure painting exuded a timeless and monumental quality.

Unlike the fleeting naturalism of Monet and Renoir , which captured the momentary perceptions of the artist, La Grande Jatte was painstakingly planned from start to finish in the manner of a Greek frieze, and its often symbolic content positively invites careful scrutiny. The painting depicts fashionable Parisians enjoying a Sunday afternoon at a popular beauty spot located on the River Seine between Neuilly and Levallois-Perret.

While his earlier Bathers at Asnieres depicted the working class left-bank of the river, this work shows the bourgeois right-bank at La Grande Jatte.

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Thus, for instance, in contrast to the unremitting heat of Asnieres, La Grande Jatte has plenty of cool shade in which to escape the sun. The canvas is crowded with some forty stereotypical Parisian figures, shown full-face or in profile. Carefully arranged in static groups across the picture, they appear uncommunicative and frozen in time, adding to the dreamlike quality of the painting.


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Featuring men, women and children of all ages, Seurat's figures also include several with symbolic meaning. This is a preview of subscription content, log in to check access.

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On the British female munitions worker as heroine, see A. Google Scholar. CrossRef Google Scholar. On the representation of Mata Hari during and after the war, see T.

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Antier, M. Walle and O. For France, see J. A recently published biography of de Bettignies which could not be considered here is C.

An illustrated book accompanied the exhibition. Chisholm, Recorded interview; E. Stokes , pp.

Maggio and M.