Georges Seurat's La Grande Jatte (1884 -1886)

This world, as painted by Seurat, is precise; each figure, each tree, every bit of climb down source and shadow ar identifyd to make a averment and to reflect a pattern (Gardner 684). The colors of this world are vibrant yet somehow muted, consisting of tiny "dots" of color and light that are a bit shy of photographic in their impact. As I gaze at myself in the frame, I take on the attitude of a Sunday afternoon at leisure, spent in the company of former(a) city-dwellers reposeful in the temperate air of a beautiful day.

Seurat, born(p) in 1859 and died in 1891, had a short but shining career (Janson 643). Seeking to make Impressionism "solid and durable" bid Cezanne, he did not work in the hazy, vibrant brushstrokes of other Impressionists. As this painting de

return to the painting, I feel myself decomposing into nothing more than small dots or "points" of color and light.

I feel that I am trap forever in my rigid pose, forever confined to a narrowly defined space in which I am only one of many equally fixed objects. The andirons compete at my feet bequeath not wag their tails, I will not close my parasol and walk home, and the small sailboats on the lake will not move back and forth in the wind. I am part of what is ultimately an abstraction of brio and not a representation of it (Gardner 683). I cannot move to gravel a ball or to pet a dog or to leave this scene, regardless of how pleasant it might be. I exist, as do others, in a timeless place that will never disappear but in which manner itself is frozen.

monstrates, he was more interested in the patterns cre
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