Georges SeuratFrance, 1859–1891Poseuse assise, de profil
Peut-on la contempler ?
Inconnu
Paris, France
Le propriétaire est connu ; on ignore si l’œuvre est exposée aujourd’hui.
- Dans cet état depuis
- Source
- Le musée
À propos du tableau
Poseuse de profil est un tableau réalisé en 1887 par le peintre français Georges Seurat. De format vertical, cette petite huile sur bois est un nu féminin exécuté selon le style pointilliste de l'artiste. Il représente l'un de ses modèles de profil, assis le pied gauche sur le genou droit.
L'œuvre est un travail préparatoire pour Les Poseuses, une peinture conservée à la Fondation Barnes de Philadelphie, en Pennsylvanie, aux États-Unis. Elle fait quant à elle partie des collections du musée d'Orsay, à Paris, de même que les deux autres études Poseuse de dos et Poseuse de face.
Notice
- Numéro d’inventaire
- RF 1947 14
Au catalogue
Sources
- Wikidata
- Image : Musée d'Orsay — Georges Seurat · Public domain · Wikimedia Commons
Pendant ce temps, chez Georges Seurat
La vie entière1880s
Charles Henry's lectures at the Sorbonne
In the 1880s Seurat hears lectures by the mathematician Charles Henry at the Sorbonne on the emotional properties and symbolic meaning of lines and colour; there remains controversy over how far he adopted Henry's ideas.
1880s
The colour theorists: Chevreul, Rood, Blanc
Seurat finds the idea of separate strokes of pure colour that blend optically in the viewer's eye in “Modern Chromatics” (1879) by the American physicist Ogden Rood and in the chemist Michel Eugène Chevreul's work on the law of simultaneous contrast of colours; according to his friends, his bedside book is Charles Blanc's “Grammaire des arts du dessin” (1867).
1886
Nine works, the public's mockery and the critics' defence
At the last Impressionist exhibition Seurat presents nine works; the critics R. Marx and Félix Fénéon write favourable reviews, but the public ridicules the “pictures painted in dots”, and the Swiss critic Émile Hennequin finds them grey and poor in light. The Impressionists are sceptical: when Pissarro says that “La Grande Jatte” is very interesting, Degas replies that he would have noticed, but it is so large; Seurat himself blames the hall for being too dark and cramped to give the picture the necessary distance.
15 May – 15 June 1886
“La Grande Jatte” is first shown at the eighth Impressionist exhibition
“A Sunday Afternoon on the Island of La Grande Jatte” is shown to the public for the first time at the eighth Impressionist exhibition, held from 15 May to 15 June 1886. The painting will initiate Neo-Impressionism and alter the direction of modern art.
19 September 1886
Fénéon names “Neo-Impressionism” and defends Seurat
Félix Fénéon, who gives the new movement the name “Neo-Impressionism”, defends the artist in an article for the Belgian paper “L'Art Moderne” of 19 September 1886: here, he argues, no virtuosity of brushwork or impasto is needed, but the eye must be quick, sharp and perceptive.
1889
Madeleine Knobloch moves into Seurat's studio
Seurat conceals his relationship with the artist's model Madeleine Knobloch (1868–1903); in 1889 she moves in with him in his studio on the seventh floor of 128 bis boulevard de Clichy.
