Georges Pierre Seurat

The most famous pointillist work of the artist. It depicts a summer landscape near Asnieres in Paris. A place frequented by the working classes, who could not afford to travel to more luxurious coastlines.

Painted dot by dot, it is considered the purest exponent of French pointillism. It is imbued with Seurat's most distinctive characteristics, such as: combination of vibrant colors and a great amount of cool light.

Like the previous work, it presents a luminous landscape, in the same environment and executed with the same pointillist technique.

Although today it is considered a key piece of Impressionism, its somewhat Naïve appearance led to it not being accepted by the critics of the time. Rejected for exhibition in one of the main galleries of the time: The Paris Salon.

Painted in the later period of the artist's life. It demonstrates an aesthetic turn full of freshness, towards a new emerging style, of which he is considered one of its founders: Post-Impressionism.

Joy is one of the moods that the artist perpetually transmits, through color and motifs. In this work, he takes it to its maximum power: clear, vibrant colors and figures that seem to smile.

The dynamism of the composition is remarkable, the stage part spins like a whirlwind in contrast to the stillness of the stands and the audience.

The artist confirms his technical proposal of chromatic construction through dots, this work and others like it earned him the "title" of inventor of Pointillism and Divisionism, consisting of offering different colors, through small dots of primary colors, without mixing. A technique similar to that which is now more than widespread, in the printing of large-format graphics using dots: yellow, cyan blue, and magenta.

This is one of the warmest motifs created by the artist, who rarely depicted human anatomies in such detail, especially nudes. One of the motivations for this painting was to demonstrate to critics that the pointillism technique was capable of creating figures with "soul," as he had been labeled a cold and overly static painter.

Behind the model, one can see Seurat's own work:
"A Sunday Afternoon on the Island of La Grande Jatte".

A lesser-known work, but no less important in the painter's catalog, as it is one of the best examples of his technique with thick brushstrokes, much closer to traditional Impressionism. Yet, it features an extraordinary richness of color, vibrant contrasts, and very vivid nuances.

The model in this portrait is Miss Madeleine Knobloch, who was romantically involved with the Painter himself. The figures and shapes exude voluptuousness, joy, and madness; they reveal the artist's infatuation, with a ridiculously small table and window, vibrant and playful colors. The main character's figure has an imposing, fun, and very feminine halo.

Seascape of the French coast, west of Paris. It shows a green cliff, a warm sky, and the sea in the background with a small lighthouse.

Landscape of the Normandy beach, showing a piece of coast with sand and grass, emerging from below and occupying almost half of the painting, above it is shallow, clear water with dark spots; 2 sailboats inside the dock, 5 in the mid-distance, and at least 12 on the high seas.

Bright colors and a very calm character; both characteristics typical of the works Seurat painted on his coastal trips.

A small-scale work of the Eiffel Tower nearing completion, reflecting the artist's admiration for the magnificent metallic monument. Unlike more purist Impressionists, many of whom rejected the new architectural aesthetics.

A location accessible only on foot, in the French commune of Grandcamp-Maisy, where the artist spent his holidays that year

It depicts a raw and rural environment, dry ground, and fresh air. The cool and warm tones contrast, creating a sunny and refreshing atmosphere.