Georges Seurat cytaty (24 cytatów) | Cytaty sławnych ludzi

Georges Seurat: 24 Cytaty 0 Polubień

Georges Seurat słynne cytaty

„Malarz świadomie stosujący linię i kolor wyznaczy niezawodnie kompozycję linearną i chromatyczną swego obrazu w ten sposób, że jej wyznaczniki kierunkowe, tonalne i barwne zostaną przystosowane do tematu, który pragnie przedstawić.”

Georges Seurat

Źródło: Zdzisław Kępiński, Impresjonizm, Wydawnictwa Artystyczne i Filmowe, Warszawa 1982, s. 260.

„Sztuka to harmonia; harmonia zaś to analogia kontrastów (przeciwieństw) i analogia podobieństw, tonu, koloru i linii; to znaczy czerwieni i jej dopełnienia – zieleni, oranżu i jego dopełnienia – błękitu, żółci i jej dopełnienia – fioletu; linii, to znaczy odchyleń kierunkowych od horyzontalnego poziomu.”

Georges Seurat

Źródło: Zdzisław Kępiński, Impresjonizm, op. cit., s. 260.

„Pierwszym zadaniem malarza stojącego przed białym płótnem powinna być decyzja, jakie krzywizny i linie mają przecinać jego powierzchnię, jakie barwy i tony mają je pokryć.
Neoimpresjonista, idąc za radą Delacroix, nie zacznie malować obrazu, nie ustaliwszy uprzednio jego kompozycji.”

Georges Seurat

Źródło: Zdzisław Kępiński, Impresjonizm, op. cit., s. 260.

„Ogólnie biorąc, można przyjąć, że obraz neoimpresjonistyczny jest bardziej harmonijny niż impresjonistyczny, ponieważ po pierwsze, dzięki stałemu zachowaniu kontrastów szczegóły są ściślej zharmonizowane, po drugie, dzięki przemyślanej kompozycji i estetycznej wymowie barw uzyskuje się harmonię całości i harmonię duchową, z której impresjonizm dobrowolnie rezygnuje.”

Georges Seurat

Źródło: Zdzisław Kępiński, Impresjonizm, op. cit., 262.

Georges Seurat: Cytaty po angielsku

“I knew van Gogh less intimately. I spoke to him for the first time in 1887 in a popular eatery near 'La Fourche', Avenue de Clichy, [Paris], (closed). A huge windowed room was decorated with his canvases. He exhibited at the 'Independants', [Paris] in 1888, 1889, 1890..”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“Rood was in my possession the day after the appearance of Philippe Gille's book review, published by 'Le Figaro', 1881 (change of palette). I abandon earth colors from [18]82 to 1884. On Pissarro's advice I stop using emerald green”

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Georges Seurat

1885
Rood etait en ma possession le lendemain du jour oil paru la revue biblio graphique de Philippe Gille, collection du Figaro 1881 [changement de palette]. J'abandonne les terres en 82 a 1884. Sur le conseil de Pissarro je lache le verr emeraud (1885
Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

“In conclusion I am going to give you the aesthetic and technical note that concludes Mr. Christophe's piece and which originated with me; I am modifying it a little, not having been well understood by the printer.”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“Signac told me of his death this way: 'He [= Vincent van Gogh ] gave himself a bullet in the ribs; it passed through his body and lodged in his groin. He walked for two kilometers, losing all his blood, and went on to die in his inn.”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“The purity of the spectral element being the keystone of my.... searching for an optical formula on this basis ever, since I held a brush 1876 - 1884.... having read Charles Blanc in school and therefore knowing Chevreul's laws and Eugene Delacroix's precepts, having read the studies by the same Charles Blanc on the same painter”

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Georges Seurat

= Delacroix
Quote in 'Gazette des Beaux-Arts', Vol. xvi, (if I remember correctly)
Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

“Here are the titles of my large canvases:
'Bathing Place' (Asnieres) 2 meters / 3 meters, exh. Independants (group) May 15, 1884. New York
studies for 'A Sunday on the Grande Jatte'. Independants (Society) December 1884
'A Sunday on the Grande Jatte'. 1884, 3 meters / 2 meters.
Independants August 1886..
.. studies at 'the Grande Jatte' and at Honfleur at Grandchamp, Independants in 1887..”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“The means of expression is the optical mixture of tones, of tints (of local color and the illuminating color: sun, oil lamp, gas, etc.), that is, of the lights and of their reactions (shadows) following the laws of contrast, of gradation, of irradiation.”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“Aesthetic:
Art is Harmony.
Harmony is the analogy of opposites, the analogy of similarities of tone, of tint, of line taking account of a dominant and under the influence of the lighting, in combinations that are gay calm or sad.”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“I insist on establishing the following dates indicating my prior paternity, [and the discussions that I held]
1884, 'Grande Jatte' study, exhibition of the Independants
1884-1885, 'Grande Jatte' composition
1885, studies at the 'Grande Jatte' and at Grandcamp; I took up again the 'Grande Jatte' composition October 1886. 4 October [18]85 I make Pissarro's acquaintance at Durand-Ruel's.
1886, January or February, a small canvas by Pissarro, divided and pure color, at Clozet's, the dealer on the Rue de Chateaudun.”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

“They [the visitors in his studio, praising his work] see poetry in what I have done. No, I apply my method and that is all there is to it.”

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Georges Seurat

as quoted in Post-Impressionism, From Van Gogh to Gauguin, John Rewald, Museum of Modern Art, New York, 1956, p. 86
undated quotes

“The art of painting is the Art of hollowing out a canvas.”

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Georges Seurat

from an essay by Roger Fry, in 'The Dial', Camden, New Jersey, September 1926
undated quotes

“The frame [is no longer as in the beginning version] is in a harmony opposed to those of the tones, tints, and lines of the [motif of the] picture.”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“I painted like that because I wanted to get through to something new - a kind of painting that was my own.”

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Georges Seurat

quote from Seurat, John Russell; Thames & Hudson, London 1965 ISBN 0-500-20032-7
undated quotes

“Knowing Corot's ideas on tone [copy of a private letter, October 28, 1875].. and Couture's precepts on the subtlety of tints (at the time of his exhibition), having been struck by the intuition of Monet and Pissarro... Rood having been brought to my attention in an article by w:Philippe Gille, Figaro 1881, 3.”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

“Gaiety of tone is the luminous dominant, of tint, the warm dominant, of line, lines above the horizontal
Calmness of tone is the equality of dark and light; of tint, of warm and cool, and the horizontal for line.
Sadness of tone is the dark dominant; of tint, the cool dominant, and of line, downward directions.”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“On Pissarro's advice I'm abandoning the emerald green..”

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Georges Seurat

Seurat's note in 1885; as quoted in the exhibition-text 'Georges Seurat, 1859 – 1891' in The Metropolitan Museum of Art, New York, 1992, ed. Robert Herbert, published: Harry N. Abrams, Inc., New York
Camille Pissarro wrote his son Lucien c. 1885 and asked him to warn Seurat and Paul Signac, because mixing the cadmium yellow with other pigments would change into dark color, later
Quotes, 1881 - 1890

“.. the flag is green with a red spot in the center; above, the blue of the sky, the orange-tinted white of the walls, and the orange-grey of the clouds.”

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Georges Seurat

short notation, 1881: from 'Notes inedites de Seurat sur Delacroix', in 'Bulletin de la Vie Artistique', April 1922; as quoted by John Rewald, in Georges Seurat', a monograph https://ia800607.us.archive.org/23/items/georges00rewa/georges00rewa.pdf; Wittenborn and Compagny, New York, 1943. p. 6 - note 9
Seurat studied carefully the paintings of Eugene Delacroix, and wrote in 1881 about Delacroix's painting 'The Fanatics of Tangier' https://upload.wikimedia.org/wikipedia/commons/a/a0/Eug%C3%A8ne_Delacroix_-_The_Fanatics_of_Tangier_-_WGA06195.jpg this notation
Quotes, 1881 - 1890

“Opposites are:
for tone, a more luminous/lighter one for a darker one.
for tint, the complementaries, that is, a certain red opposed to its complementary, etc.
Red — Green
Orange — Blue
Yellow — Violet
for line, those making a right angle.”

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Georges Seurat

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“Signac, definitively won over and who had just modified the paintings 'The Milliner', [1885] and 'Appreteuse et garnisseuse Modes' [exhibited in May 1886], Rue de Caire, p. 174J, following my technique at the same time as I was finishing the 'Jatte'... You'll agree that there's a nuance here and that if I was unknown in [18]85 [ Félix Fénéon did not mention Seurat in his article as leader / initiator of Neo-Impressionism I nonetheless existed, I and my vision that you have described in an impersonal fashion so superbly, aside from one or two insignificant details.”

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Georges Seurat

version B of the 'Letter to Félix Fénéon', June 1890
Quotes from version B of his letter to Félix Fénéon, Seurat provided more important information
Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

“Allow me to point out an inaccuracy in your biography of Signac, or rather, in order to set aside all doubt, allow me to specify..”

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Georges Seurat

Félix Fénéon wrote that 'the new 'optical painting' seduced [c. 1885], - several young painters', but he named mainly Signac
Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890