Seurat$506738$ - перевод на Английский
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Seurat$506738$ - перевод на Английский

FRENCH PAINTER (1859-1891)
Georges Pierre Seurat; Seurat, Neo-Impressionism and the science of color; George Seurat; Georges-Pierre Seurat; Seurat
  • ''[[A Sunday Afternoon on the Island of La Grande Jatte]]'', 1884–1886, oil on canvas, 207.5 × 308.1 cm, [[Art Institute of Chicago]]
  • ''[[Bathers at Asnières]]'', 1884, oil on canvas, 201 × 301 cm, [[National Gallery]], London
  • Jeune femme se poudrant]]'' (''Young Woman Powdering Herself''), 1888–1890, oil on canvas, 95.5 x 79.5 cm, [[Courtauld Institute of Art]]
  • Georges Seurat, 1889–90, ''[[Le Chahut]]'', oil on canvas, 170 x 141 cm, [[Kröller-Müller Museum]], Otterlo
  • The Circus]]'', 1891, [[Musée d'Orsay]], Paris
  • Circus Sideshow (Parade de Cirque)]]'', 1887–88, [[Metropolitan Museum of Art]], New York
  • Portrait of [[Edmond Aman-Jean]], shown at the 1883 Salon
  • Circus Sideshow (Parade de Cirque)]]'' (1889) showing pointillism and color theory

Seurat      
n. familienaam, Seurat; Seurat, Georges (1859-1891), Franse neoimpressionistische schilder, ontwerper van pointillisme

Определение

Neoimpressionism
·add. ·noun A theory or practice which is a further development, on more rigorously scientific lines, of the theory and practice of Impressionism, originated by George Seurat (1859-91), and carried on by Paul Signac (1863- -) and others. Its method is marked by the laying of pure primary colors in minute dots upon a white ground, any given line being produced by a variation in the proportionate quantity of the primary colors employed. This method is also known as Pointillism (stippling).

Википедия

Georges Seurat

Georges Pierre Seurat (UK: SUR-ah, -⁠ə, US: suu-RAH, French: [ʒɔʁʒ pjɛʁ sœʁa]; 2 December 1859 – 29 March 1891) was a French post-Impressionist artist. He devised the painting techniques known as chromoluminarism and pointillism and used conté crayon for drawings on paper with a rough surface.

Seurat's artistic personality combined qualities that are usually thought of as opposed and incompatible: on the one hand, his extreme and delicate sensibility, on the other, a passion for logical abstraction and an almost mathematical precision of mind. His large-scale work A Sunday Afternoon on the Island of La Grande Jatte (1884–1886) altered the direction of modern art by initiating Neo-Impressionism, and is one of the icons of late 19th-century painting.