Hello! It's been a busy 2022. I've started working in October in a new school and attended my congregation in January. The ceremony was held in Durham cathedral.
Sunday, January 15, 2023
Tuesday, June 28, 2022
PG: Painting Analysis
Hi! I've extracted bits of my essay to be included here. The original essay has 4998 words. The analysis is based on one of my favourite paintings and it is paired with a musical (Sunday in the Park with George 1984) inspired by the same painting.
Georges Seurat, Un dimanche à La Grande-Jatte, 1884-1886. Oil on Canvas, 205.7 x 305.7 cm. The Art Institute of Chicago. Helen Birch Bartlett Memorial Collection.
1. Introduction
‘…camera obscura… subjective contents of vision that are dissociated from an objective world…’.1 – Johann Wolfgang von Goethe
For a century, the camera obscura paradigm was ‘the site of truth’ but became recognised as an instrument for manipulation, in the ‘mid-eighteenth century’.2,3 The above epigraph echoes the opening paragraph in John Berger’s book (1972) that the ‘relation between what we see and what we know is never settled.’4 In my essay, I will contextualise the discussion by looking at a painting first, A Sunday on La Grande Jatte (1884-86), and the artist, Georges Seurat’s practice and the perceptions of viewing during Neo-Impressionism. Next, I will concatenate the politics of leisure and utopianism using the same painting. I have chosen three other paintings, Bathers, Asnières (1884), Parade de cirque (1887-88) and Le Chahut (1889-90), to discuss Seurat’s endeavour in observing the mass culture, especially in the area of leisure and entertainment, during the Third Republic. Lastly, I will discuss how new modes of spectacle that are inspired in the twentieth century, using a recording of a Broadway musical by Sondheim to discuss about the elements in phenomenology that is experienced by the viewers.
1 Jonathan Cray, Suspensions of Perception: Attention, Spectacle, and Modern Culture (USA: The MIT Press, 2000), p. 71.
2 Jonathan Cray, Techniques of the Observer on Vision and Modernity in the 19th Century (USA: MIT Press, 1992), p. 29.
3 Aaron Scharf, Art and Photography, (USA: Pelican Books, 1975), in Z Library <https://b-ok.cc/book/2767236/ecae46> [accessed 9 March 2022], p. 21.
4 John Berger, Ways of Seeing (London: Penguin Books, 1972), p. 7.
2. Seurat and the Science of Perception
In this section, I examine the claim about Seurat as a ‘scientific’ artist in the nineteenth century.5 The discussion of Seurat’s artistic practice and formal analysis of the painting, Grande Jatte, demonstrate the visual information that produces physiological responses.
2.1. Technique and Formal Analysis of A Sunday on La Grande Jatte
A sporadic divorce with tradition in art and science lead to the ‘development of revolutionary concepts of interpretation and the reorganisation of perception to create a new form of reality’.6 Likewise, Seurat’s experimental approach in his shift of interest from ‘rationalised colour practice to the concordance of colour and line for expressive purpose’ was well-documented.7 On the ‘eighth Impressionist exhibition 1886,’ at Rue Laffitte in Floreal, Paris, the then twenty-six-year-old artist, Georges Seurat, exhibited his painting, Grande-Jatte (1884-86).8 Although the exhibition received lukewarm reviews, art critic, Félix Fénéon, later reassessed the exhibition to ‘redirect the movement to Neo-Impressionism’.9 Using simple lines and space to adumbrate psychological isolation, Seurat evokes the attitude of theatrical costumes.
5 Paul Smith. Seurat Re-viewed (PA: The Pennsylvania State University Press, 2009), p. 43.
6 Martin Pollock and others, Common Denominations in Art and Science (Great Britain: Aberdeen University Press, 1983), p. xv.
7 William Innes Homer, Seurat and the Science of Painting (Cambridge: The M.I.T. Press, 1970), p. 181.
8 Ward, Martha. ‘The Eighth Exhibition 1886’. The New Painting Impressionism: 1874 – 1886, ed. by Moffett, Charles S. (Switzerland: The Fine Arts Museums of San Francisco, 1986), p. 434.
9 Ward, Martha, The Eighth Exhibition 1886, p. 428.
Stripped of affectations, the frocks follow the curves of the body and hang straight down, the close-fitting tunics, the tight jackets and the drainpipe trousers. Art critic, Paul Adam, described the absence of movement as ‘the retinue of a pharaoh,’ with the exception of the dogs, monkey and a girl depicting movement, most of the stoic figures in the painting are captured with the likes of Egyptian imagery, grouped in clusters.10 Whereas for Jean Moréas, he admired them as a ‘Parthenon procession’.11 Superficial and formulaic, ‘the rigidity of Parisian leisure, depicted tired and stiff,’12 these ‘hieratic’ features of Grande Jatte, demonstrate Seurat’s readiness in moving away from the ‘post-Renaissance tradition’.13
What we see is tainted by our lens of knowledge and beliefs. For instance, knowing the properties of colours such as those as light (screen), as pigment (paint) and in print (ink) is different from how we see them. Seurat was greatly influenced by academic, Charles Blanc’s colour theory, and of Delacroix’s colour technique, which is understood to ‘play a part in the formation of the Neo-Impressionist style’ — where the small calculated touches produce an amalgamation of colours blended by the retina.14
10 Paul Smith. Seurat Re-viewed, p. 40.
11 Paul Smith. Seurat Re-viewed, p. 40.
12 Claire White, Work and Leisure in the Late Nineteenth-Century French Literature and Visual Culture: Time, Politics and Class.(England: Palgrave Macmillian, 2014), in Z Library <https://b-ok.cc/book/2689456/aed13c> [accessed 26 February 2022], p.83.
13 Foa, Michelle, Georges Seurat: The Art of Vision. (China: Regent Publishing Services Limited, 2015), in Z Library <https://b-ok.cc/book/2573671/bbe013> [accessed 17 February 2022], p. 84.
14 William Innes Homer, Seurat and the Science of Painting, p. 34.
Colours derived from paint are not true colours, and thus; they contain ‘trace chemicals that reflect light rays other than single, pure wavelengths’, causing problems in mixtures with other pigments.15 On the other hand, the colours on screens are made up of tiny dots of light known as phosphors grouped in red, green and blue sets called pixels, merely ‘varying red, green and blue combinations of phosphor excitement within the pixels can produce a full range of colours.’16 Understanding the properties of colours will help us to see the interpretations of physiology of human vision, using the same painting in the next section.
15 Betty Edwards, Color: A Course in Mastering the Art of Mixing Colors (Los Angeles, Penguin Group Inc., 2004), p. 22.
16 Betty Edwards, Color: A Course in Mastering the Art of Mixing Colors, p. 22.
2.2. Interpretations of the Physiological Vision
The Neo-Impressionists’ goal was to make painted colours as close to light as possible, and by maximising the luminosity of paintings, they can avoid mixing the paint. Similar work practice adopted by Seurat was evident from his surviving palette (Figure 1). The ‘first row [on the palette] are eleven pure colours and white, with the earth colours missing and only analogous colours are mixed while complementary colours are not,’ to prevent the acquisition of dull colours.17 As indicated in Section 2.1., the properties of paint are applied by Seurat in a way that went on to create the invention of ‘optical mixture’.18 The analogous colours are used for the ‘red-orange hat worn by the [seated] woman holding the umbrella, her reddish jacket, the yellow-orange skirt worn by the woman [next to her] and her yellow-brown hair, the red-violet umbrella lying on the ground.’19
17 Hajo Düchting, Seurat, (Koln: Taschen, 1999) p. 45.
18 Blanc. Quoted in Paul Smith. Seurat Re-viewed, p. 49
19 Hajo Düchting, Seurat, p. 38.
Furthermore, Seurat used the concept of ‘simultaneous contrast’ to increase chiaroscuro.20 This delineates the details of how ‘one would perceive the blue to be more green (complementary of red), when one is looking at something red next to something blue and the red to be more orange (complementary of blue).’21 Seurat not only explores the perception of colours, he demonstrates a linear perspective in his drawing to include more than one vantage point. It was found that the ‘figures in the foreground posits both a stationary […] and mobile viewers taking in different parts of the painting’ from different perspectives.22 Since the life-size couple is the largest figure in the foreground, the viewers’ eyes might be directed to the right side of the painting first. Thereafter, the viewers’ attention would likely glide towards the left, where most of the figures in the painting are facing.
Dissecting colour theory to pixels, I draw parallels to the incredibly labourious technique and the monotony of the modern urban life. The harmonious image may appear in a state of solidarity but satire might be embedded to disguise the appearance of social concord. The gulf between people mirrors the divisionism technique, where the brushstrokes and pigments are individually applied without mixing. Similarly, the lack of interactions between the people in the painting exemplifies social alienation. In particular, the imbrication of bourgeois leisure and industrial society will be addressed in the next section.
20 Foa, Michelle, Georges Seurat, p. 90.
21 Foa, Michelle, Georges Seurat, p. 90.
22 Foa, Michelle, Georges Seurat, p. 74.
4. Seurat and the Society of Spectacle
Besides delving further into A Sunday on La Grande Jatte, this section discusses stylistic devices using three other Seurat’s paintings, Bathers, Asnières (1884), Parade de cirque (1887-88) and Le Chahut (1889-90) to illuminate the mindless absorption of visual systems.
Grande Jatte seems like a pendant created for Bathers, Asnières (1884).
Casting aside the significance of the social conditions in these paintings, I will focus on the physiology conditions of the human vision and the perception of space in this painting. Bathers shows a few men and boys relaxing or bathing along the banks of Seine, depicted opposite the river from Grande Jatte (Figure 2).45Each of the reclining male figure in both the paintings whose ‘leg are partially cropped by the edge of the painting,’ enforces the fact that these two paintings are connected.46 Furthermore, a boat with ‘a tricolour flag appears in both the paintings’.47 Taking the comparable dimensions of Bathers and Grande Jatte into consideration, if both of the paintings were to appear within a collection, they most likely could add meaning to each other. Polarised by the Seine, Seurat seems to suggest that, the two paintings are also divided by classes, regardless of the status the people in Grande Jatte wished to represent.
45 Leighton, John and Thomson, Richard. Seurat and the Bathers (London: Yale University Press, 1997), p. 139.
46 Foa, Michelle, Georges Seurat: The Art of Vision, p. 79.
47 Foa, Michelle, Georges Seurat: The Art of Vision, p. 80.
Our eyes, head and body move in sync, resulting in a ‘spheroid field of vision’ which changes our sense of depth and spatial relations in real life.48 A flat surface, however, is limiting to convey an impression of the same scene to the viewers. Hence, the massive size of Bathers and Grande Jatte ‘minimise the discrepancy between a painting impression and real life’.49 Besides, it employs ‘linear perspectives and Helmholtz’s advice’ to include optical strategies to aid more than one perspectives, as described in Section 2.2.50 Seurat’s preoccupation with ‘physiology of vision’ will be further discussed using two more of his paintings.51
In Seurat’s Parade de cirque (1887–88), it depicts a night-time outdoor scene of a sideshow in Paris, likely a representation of ‘Corvi Circus’ in 1888.52 The purpose of free sideshows is, to entice potential customers to purchase tickets for the circus. Adding on a layer of mystery, the subject of the painting evokes a sense of anticipation, as captured in the dream-like quality of the painting.
48 Jonathan Cray, Suspensions of Perception, p. 220.
49 Foa, Michelle, Georges Seurat: The Art of Vision, p. 75.
50 Foa, Michelle, Georges Seurat: The Art of Vision, p. 74.
51 Foa, Michelle, Georges Seurat: The Art of Vision, p. 89.
52 Laura D. Corey, Following the Trail of (Ginger)bread Crumbs: Seurat, the Corvi Circus, and the Gingerbread Fair (2017) <https://www.metmuseum.org/blogs/now-at-the-met/2017/corvi-circus-gingerbread-fair> [accessed 6 March 2022].
This ominous art, as described by Helmholtz, is perhaps showing the viewers what passive looking looks like and urge viewers to practise ‘active visual and mental engagement’ with the painting.53 A central figure, elevated on a platform, serenades the audience with a trombone. Silhouettes of some figures in the foreground at the bottom of Parade appears like passive consumers taking in the sight and music in front of them. This rather one-dimensional painting alludes to the fact that the scene portrays a ‘lack of engagement with the external world,’ which articulates the production of a state of mind known as ‘optical phantasmagoria’.54Gustave Kahn condemns ‘public entertainments due to the mental passivity that they induce in the public’ and he likens the external stimulations to ‘partial hypnotisation’ and claims that they induce ‘mental stupor’ to individuals.55 A concern is founded as these imposed conditions gradually caused man to have no mind of his own and became ‘somnambulistic’.56 Another consideration is these kinds of entertainment possesses the ability to subdue unknowing audience and inhibit the public’s awareness to acquire knowledge to one’s immediate surrounding or environment.
53 Foa, Michelle, Georges Seurat, p. 121.
54 Foa, Michelle, Georges Seurat, p. 122.
55 Foa, Michelle, Georges Seurat, p. 122.
56 Gabriel de Tarde, The Laws of Imitation (NYC: Henry Holt and Company, 1903) trans. by Elsie Clews Parsons, in Z Library <https://b-ok.cc/book/843963/3d4529> [accessed 5 March 2022], p. 84.
To mitigate the ‘threat of a volatile proletarian class’, there is an unspoken need to maintain the social order and equilibrium that could produce a sense of ‘solidarity’ in a crowd.57 On one hand, the display of ‘excitement’ and cultivating a need for it facilitates the individual towards social integration, but on the other hand, it eventually ‘precipitates degeneration’.58 Another challenge is the difficulty to maintain an ideal amount of external stimuli, which does not compromise the stability of a society as ‘an excess of sensory stimulation was potentially disruptive or pathological’.59
To further illuminate the effects of how associations with external stimuli affect the psychology of viewing, I will contrast it with another of Seurat’s painting, Le Chahut (1889–1890). The composition of Parade are orderly and regimented, whereas, in Le Chahut, it displays a sense of movement and rhythm using ascending lines, angles and warm hues in the painting. The viewers’ eyes are directed upwards to mimic the effect of looking up on the stage while watching a performance. As indicated in Seurat’s letter dated 1890, he wrote that the ‘cheerfulness of tone results from a luminous dominant of lines from angles above the horizontal’ (Figure 3).60
57 Nina Lara Rosenblatt, ‘Photogenic Neurasthenia: On Mass and Medium in the 1920s’, The MIT Press, 86 (1998), 47–62 (p. 53)
58 Jonathan Cray, Suspensions of Perception, p. 177.
59 Jonathan Cray, Suspensions of Perception, p. 176.
60 Roger Fry, Seurat (London: Phaidon, 1965), p. 75.
Chahut is a raunchy dance that was very popular in the late nineteenth-century Paris, known to arouse and captivate the spectators by having an ‘intensely seductive effect’.61 A number of accounts have attest to the fact that the dance tantalise the senses, by capitalising on the sexual appeal with the provocative movement of the dancers, which was confirmed to be ‘closely related to the arousal of sexual desire merely with the sight as the mechanism’.62 The agenda of these kind of entertainments were ‘insidious even without ostentatious guile’.63 The resemblance of Le Chahut and Parade is such that both paintings depict commodified entertainment with alluring elements that aim to spur the spectator’s visual imagination. In Parade, it was the sideshow that was featured to entice people to the main show. For comparison, Le Chahut’s alluring elements are the sneak peak of the dancers’ legs and undergarments that offers the gateway to the spectators’ ‘intoxicating visual experience’.64 Along the same line of thought, in accordance with Charles Henry’s theories on the emotional impact of line in art, he contends that ‘ascending lines evoke a sense of gaiety or pleasure in the viewer…straight lines produce a sense of calmness or emotional neutrality.’65
61 Foa, Michelle, Georges Seurat, p. 142.
62 Foa, Michelle, Georges Seurat, p. 143.
63 Stephen F. Eisenman, and others. Nineteenth Century Art: A Critical History, 5th ed. (China: Thames & Hudson, 2019), in Z Library<https://b-ok.cc/book/2524047/37b806> [accessed 7 March 2022], p. 421.
64 Stephen F. Eisenman, and others. Nineteenth Century Art: A Critical History, p. 421.
65 Foa, Michelle, Georges Seurat, p. 144.
As a result, Seurat’s interest in using an ‘ensemble of lines’ to create psychological responses in the viewers are evident.66 These ‘pleasures of decadence,’ as described by Seurat are a perception of the degeneration of the Neo-impressionism era, presented elegantly through art, as were the motives of the entertainments.67
66 Foa, Michelle, Georges Seurat, p. 145.
67 Stephen F. Eisenman, Nineteenth Century Art: A Critical History, p. 419.
5.2. Translation to the Musical: Sunday in the Park with George (1984)
Sunday in the Park with George (1984) was the brainchild of Stephen Sondheim and James Lapine. Inspired by Grande Jatte, Sondheim and Lapine created a musical that revolved the protagonist, George, symbolising Georges Seurat. Act II of the musical acts as a bridge to link ‘the action of 1880s France to that of 1980s America,’ similar to how Grande Jatte was bought in France and presently housed in an American museum.73The musical closed on 13 October 1985 after six hundred and four performances at the Booth Theatre in New York City.74 Here, I used a recording of the musical from YouTube published by Daves Teves to discuss how translations from the painting, Grande Jatte (1884-86) to the musical, Sunday (1984) are deployed. Timestamps from specific segments of the musical are linked in the essay for reference. I will draw on some elements of phenomenology in Sunday, through music and design, and link the unifying elements from Grande Jatte. The concept of Gesamtkunstwerk, or ‘the total work of art,’ supported by Richard Wagner, will be engaged to demonstrate its application in the analysis.75 Wagner suggests that ‘drama is the highest common work of art,’ and that it can only maximise its value when it ‘is present in its fullest realisation’ by having ‘all the other arts in their fullest realisation’.76
73 Steve Swayne, How Sondheim Found His Sound (Ann Arbor: University of Michigan Press, 2005), in Z Library <https://b-ok.cc/book/2473713/e6eb65> [accessed 13 March 2022], p. 153.
74 Dan Dietz, The Complete Book of 1980s Broadway Musicals (London: Rowman & Littlefield, 2016), in Z Library <https://b-ok.cc/book/5220879/c6260c> [accessed 14 March 2022], p. 212.
75 David Roberts, The Total Work of Art in European Modernism, (NY: Cornell University, 2022), in Z Library <https://b-ok.cc/book/2643390/259ea8> [accessed 14 March 2022], p. 1.
76 Piero Weiss, Opera: A History in Documents (NYC: Oxford University Press, 2002), in Internet Archive <https://archive.org/details/isbn_9780195116373/page/n5/mode/2up?q=full+potential> [accessed 14 March 2022], p. 203.
In other words, it is not merely about integrating different parts to make a whole, but rather, the parts (‘musical, lyric, dramatic, design ingredients’) are still whole themselves when put together (musical) to create ‘harmony’.77 This immersive experience enables the audience to have omnipresence and acquire knowledge about the different characters.
In Grande Jatte, Gesamtkunstwerk or harmony is achieved through the use of elements of art and principles of design. In Sunday, the concept of harmony is portrayed through parallels in Act I and Act II by closing the loop using visuals and auditory elements. Real people share the stage with two-dimensional ‘flat cutouts’ as the backdrop, to mimic the flatness of the painting.78 Visually, both of the opening and ending of the musical begin [2:27] and end [2:21:42] with a blank canvas, with Act I George and Act II George articulate identical opening and closing script, ‘white. A blank page or canvas…’. The only difference is the line following that identical phrase, with Act I George continues, ‘… The challenge: bring order to the whole,” while Act II George says, “His favourite. So many possibilities…’. Furthermore, when the music accompanies Act I George’s utterance of ‘design, composition, balance, light, and harmony,’ each ‘arpeggiated’ chord is followed by a movement of the set onstage [2:26].79
77 Dominic Symonds, ‘Putting it Together and Finishing the Hat? Deconstructing the Art of Making Art’, Contemporary Theatre Review, 19.1 (2009), 101–112 (p. 101).
78 Steve Swayne, How Sondheim Found His Sound, p. 199.
79 James Lapine, Putting it Together (NY: Farrar, Straus and Giroux, 2021), in Z Library <https://b-ok.cc/book/16970704/4d0ef8> [accessed 13 March 2022], p. 332.
Likewise, the last musical number, ‘Sunday’ [2:17:45] sung by the company shows the characters exit the stage gradually. The imagined repose is reflected in the final painting, Grande Jatte, towards the end of Act I [1:25:08], and it corresponds to the opening of Act II [1:27:00], where the characters appeared in freeze mode, complaining about the heat.
Sondheim, in his interview, recalled that he noticed Seurat had eleven colours and white on his paint palette, and so he created a ‘corresponding music scale of twelve notes’.80 To take it further, he learnt about the ‘optical mixing’ in Grande Jatte and he was keen to do the ‘musical equivalent’ in Sunday but he soon realised that he had hit a roadblock.81 Instead, he decided to incorporate Seurat’s practice of ‘pointillism,’ ‘dabs,’ ‘stipple,’ and ‘rhythm’ in Grande Jatte, as described in Section Two, into the musical, Sunday.79 This train of thought results in Sondheim creating a ‘rhythm in the accompaniment’ and this idea echoes the musical number in ‘Colour and Light’ in Act I.82 The alternation between the ‘major and minor’ is, what Sondheim claims, ‘exactly like juxtaposing’ in view of how Seurat painted.83
79 Mark Eden Horowitz, Sondheim on Music Minor details and Major Decisions 2nd ed. (Lanham: Scarecrow Press, 2010), in Z Libraryhttps://b-ok.cc/book/932122/bf2f65 [accessed 13 March 2022], p. 91.
80 Mark Eden Horowitz, Sondheim on Music Minor details and Major Decisions, p. 92.
81 Mark Eden Horowitz, Sondheim on Music Minor details and Major Decisions, p. 92-93.
82 Mark Eden Horowitz, Sondheim on Music Minor details and Major Decisions, p. 93.
83 Mark Eden Horowitz, Sondheim on Music Minor details and Major Decisions, p. 93.
A musical leitmotif of the arpeggiated chord follows the characters and other thematic accompaniment in ‘Colour and Light’. Visually, the scene in ‘Colour and Light,’ [19:05] shows George at his studio and Dot’s ‘syncopated powdering,’ at her vanity.84 The dialogue and song are void of ‘Latin-root words and contractions to give it the feel of nineteenth-century speech patterns’.85 When Dot and George each have their dialogues, the musical leitmotif associated with them are different in order to depict their seemingly unmatched personalities. When the scene switched to George [20:07], the leitmotif gradually became more complex, as if to signify the labourious painting technique of Grande Jatte. The script also specifically states George’s stage directions, ‘dabs assiduously, delicately attacking the area he is painting,’ in this scene.86 As the intensity continues to grow, George sings, ‘red red red red […] Dot Dot sitting […] Out out out but […]’ as though speaking through a stream-of-consciousness, simultaneously, representing pointillism.87 Throughout this scene, Dot and George were never in synchronisation in their dialogue, until the climax [25:46], where they look into each other’s eyes, and finally sing in harmony.
84 James Lapine, Putting it Together, p. 68.
85 James Lapine, Putting it Together, p. 68.
86 James Lapine, Putting it Together, p. 352.
87 James Lapine, Putting it Together, p. 355-356.
6. Conclusion
Our sensations are sharpened by the engagement of Seurat’s paintings and Sondheim’s brilliance. Their captivating art forms tantalised us unknowingly. In Section Two, I framed this essay with Seurat’s Grande Jatteand provided examples of his artistic practice with an inclination towards the scientific. Having analysed the pointillism technique from the point of the physiological vision, I have demonstrated a range of societal changes, that Seurat had used as social commentaries, in 1880s in France. I gave evidence for the emergent of classes and the working class’ consuming habit. Being attentive to how we respond to external stimuli will cultivate our sense of discernment. In Section Four, I based my discussion about entertainment using Seurat’s other paintings, Bathers, Parade de cirque and Le Chahut. Finally, I have explored Grande Jatte in the twentieth century, its prevalence amongst the digital realm, and how it has inspired the musical, Sunday in the Park with George, that left a series of contemplation and reflection.
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