TY  - BOOK
AU  - Leighton,John
AU  - Thomson,Richard
AU  - Bomford,David
AU  - Kirby,Jo
AU  - Roy,Ashok
ED  - National Gallery (Great Britain)
TI  - Seurat and the Bathers
SN  - 1857091752
AV  - ND553.S5 A63 1997
PY  - 1997///
CY  - London, New Haven, Conn.
PB  - National Gallery Publications, Distributed by Yale University Press
KW  - Seurat, Georges,
KW  - Bathers, Asnières (Seurat, Georges)
KW  - fast
KW  - Painting
KW  - 19th century
KW  - Pointillism
KW  - Post-Impressionism
KW  - Neo-Impressionism
KW  - Neoclassicism
KW  - Bathing in art
KW  - Exhibition catalogues
KW  - Exhibition catalogs
KW  - lcgft
N1  - Published to accompany an exhibition at the National Gallery, London, 2 July - 28 September 1997; Includes bibliographical references (pages 159-163) and index; Foreword / Neil MacGregor --; 1. Seurat: The Early Years -- The Early Drawings -- Paintings and Studies in Oil -- Seurat and Colour Theory --; 2. The Bathers: Making a Masterpiece -- The Oil Studies -- The Drawings for the Bathers -- Making the Final Picture -- The Evolution of the Composition -- Colour and Colour Effect in the Bathers --; 3. Seurat's Choices: The Bathers and its Contexts -- Adapting the Ideal -- Representing the Modern -- The 'Modern' Landscape -- 1884: Rejection and Response -- Characterising the Bathers -- The Echo of the Bathers -- Representing the Suburbs after 1884 -- The Continuity of the Classical
N2  - In Seurat and The Bathers the authors discuss the various choices Seurat made with regard to subject, format and technique in preparing this monumental painting. They relate Seurat's working methods - the preparatory oil sketches and drawings - and the painting's physical nature - colour, brushwork and surface - to his academic training, his study of optical theory, the development of his distinctive drawing style, and his early interest in plein-air oil sketching and impressionism. Stylistically, Seurat responded to the French tradition of monumental figure painting and also to contemporary artists, both Salon painters and Impressionists, arriving at a paradoxical but subtle new synthesis. Finally the authors consider the subject matter of the Bathers in relation to other nineteenth-century representations of middle- and working-class life and leisure activities in the Parisian suburbs, particularly at Asnieres
ER  -