French Pointillist Painter, 1859-1891 Georges-Pierre Seurat (2 December 1859 ?C 29 March 1891) was a French painter and draftsman. His large work Sunday Afternoon on the Island of La Grande Jatte, his most famous painting, altered the direction of modern art by initiating Neo-impressionism, and is one of the icons of 19th century painting Seurat took to heart the color theorists' notion of a scientific approach to painting. Seurat believed that a painter could use color to create harmony and emotion in art in the same way that a musician uses counterpoint and variation to create harmony in music. Seurat theorized that the scientific application of color was like any other natural law, and he was driven to prove this conjecture. He thought that the knowledge of perception and optical laws could be used to create a new language of art based on its own set of heuristics and he set out to show this language using lines, color intensity and color schema. Seurat called this language Chromoluminarism. His letter to Maurice Beaubourg in 1890 captures his feelings about the scientific approach to emotion and harmony. He says "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of color and of line, considered according to their dominance and under the influence of light, in gay, calm or sad combinations". Seurat's theories can be summarized as follows: The emotion of gaiety can be achieved by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm is achieved through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness is achieved by using dark and cold colors and by lines pointing downwards.  Related Paintings of Georges Seurat :. | Model | ung kvinna som pudrar sig | Head Portrait of the Girl | Die Seine bei Courbevoie | A Sunday afternoon on the is land of la grande jatte |
Related Artists:
Ciudad de la Pintura

Charles Wellington Furse
(January 13, 1868 - October 16, 1904) was an English painter. He was born at Staines, the son of the Rev. C. W. Furse, archdeacon of Westminster, and rector of St John's, Smith Square and descended collaterally from Sir Joshua Reynolds; and in his short span of life achieved such rare excellence as a portrait and figure painter that he forms an important link in the chain of British portraiture which extends from the time when Van Dyck was called to the court of Charles I into the 20th century. His talent was precocious; at the age of seven he gave indications of it in a number of drawings illustrating Scott's novels. He entered the Slade School in 1884, winning the Slade scholarship in the following year, and completed his education at Julians Atelier in Paris. Hard worker as he was, his activity was frequently interrupted by spells of illness, for he had developed signs of consumption when he was still attending the Slade school. An important canvas called Cain was his first contribution (1888) to the Royal Academy, to the associateship of which he was elected in the year of his death. For some years before he had been a staunch supporter of the New English Art Club, to the exhibitions of which he was a regular contributor. In October 1900 he married Katharine Symonds, the daughter of John Addington Symonds. She later became known as Dame Katharine Furse. The couple had 2 sons. His fondness for sport and of an open-air life found expression in his art and introduced a new, fresh and vigorous note into portraiture. There is never a suggestion of the studio or of the fatiguing pose in his portraits. The sitters appear unconscious of being painted, and are generally seen in the pursuit of their favourite outdoor sport or pastime, in the full enjoyment of life. Such are the Diana of the Uplands, the Lord Roberts and The Return from the Ride at the Tate Gallery; the four children in the Cubbing with the York and Ainsty, The Lilac Gown, Mr. and Mrs. Oliver Fishing and the portraits of Lord Charles Beresford and William Johnson Cory. Most of these pictures, and indeed nearly all the work completed in the few years of Furse's activity, show a pronounced decorative tendency. His sense of space, composition and decorative design can best be judged by his admirable mural decorations for Liverpool town hall, executed between 1899 and 1902. A memorial exhibition of Furse's paintings and sketches was held at the Burlington Fine Arts Club in 1906.
Ambroise-Louis Garneray
(19 February 1783 - 11 September 1857) was a French corsair, painter and writer. He served under Robert Surcouf and Jean-Marie Dutertre, and was held prisoner by the British for eight years. Garneray was born in Paris (on Rue Saint-Andre-des-arts, in the Latin Quarter) on 19 February 1783. He was the elder son of Jean-François Garneray (1755-1837), painter of the king, who was pupil of Jacques-Louis David. At thirteen, he joined the Navy as a seaman, encouraged by his cousin, Beaulieu-Leloup, commander of the frigate Forte ("the Stout one"). Garneray sailed from Rochefort to the Indian Ocean with the frigate division under Sercey, to which the Forte belonged. Garneray took part in the various campaigns of Sercey division and witnessed the hardship it met in the battle against Arrogant and Victorious. He then served in 1798 on the corvette Brûle Gueule ("Mouth burner"), which patrolled with the frigate Preneuse ("the Taker"). Returning from this campaign, the Brûle Gueule and Preneuse were chased by a British squadron comprising two ships of the line, one frigate and one corvette; the French flew into a creek near Black River whose shallow waters prevented the British from pursuing. The next day, the British squadron attacked; the French had established strong defensive positions by installing the unusable batteries of their ships ashore, and repelled the British squadron. In 1799, Garneray was promoted to quartermaster and "first painter of the edge" on the Preneuse under captain Jean-Marthe-Adrien l'Hermite. The frigate was the last French official force in the Indian Ocean. This patrol went into trouble, in spite of an exceptional combat against the British ship of the line the Jupiter. Returning to Mauritius, her crew suffered from scurvy, and the Preneuse had to be kept quarantined and had to return to the British forces making the blockade of the island. Garneray escaped captivity by regaining the coast with the stroke. In spite of the disaster, Garneray kept longstanding admiration and friendship for to Lhermitte, whom he would continue to visit until his death 1826. Garneray: Capture of Kent by SurcoufFor lack of official ships, Garneray joined the Confiance ("the Trust") of Robert Surcouf as an ensign, from April at December 1800. He took part in the capturing and boarding the Kent in October 1800. It was the only time where Garneray made money as a sailor. Upon returning from patrol, he invested his share in a slave trading ship, l'Union, on which he was a first mate. He sailed on various trading ships during the peace of Amiens, after which he served aboard the Pinson ("the Finch"), a cutter based in Île Bourbon. He replaced the commander when he died, and was shipwrecked shortly thereafter. He then served on the corsair Tigre du Bengale and eventually on the frigate Atalante attached to the squadron of Linois. He later served on the Belle Poule ("beautiful chick"), and was aboard when she was captured by the British in March 1806. Wounded, Garneray was led in England and spent the eight following years on prison hulks off Portsmouth (on the Protee, the Couronne ("Crown") and the Vengeance. He was able to improve his standard of living by selling paintings to a British merchant. A statement attributed to him goes: "But for piracy, I believe that I practiced about all kinds of navigation".