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Description
The aim of this programme is two fold: first, that the viewer should look at and enjoy Seurat's drawings, which tend to be neglected in favour of his paintings; secondly that the drawings should be... seen in relation to the rest of Seurat's work. The programme relates to unit 4 of the course. Drawing was always very important to Seurat and, like the other Post Impressionists, he did a great number of them. The theories which, were later to be extended to colour and become fundamental to his painting can be seen in his graphic work in their simplest, clearest and most lucid form. In a wider sense, the development of style in Seurat's drawing can be taken as representing the leap from the nineteenth century, from the tradition of the Beaux Arts and from Impressionism, into the twentieth century. The speaker is Myles Murphy, Senior Lecturer in Painting at Chelsea School of Art.
The aim of this programme is two fold: first, that the viewer should look at and enjoy Seurat's drawings, which tend to be neglected in favour of his paintings; secondly that the drawings should be... seen in relation to the rest of Seurat's work. The programme relates to unit 4 of the course. Drawing was always very important to Seurat and, like the other Post Impressionists, he did a great number of them. The theories which, were later to be extended to colour and become fundamental to his painting can be seen in his graphic work in their simplest, clearest and most lucid form. In a wider sense, the development of style in Seurat's drawing can be taken as representing the leap from the nineteenth century, from the tradition of the Beaux Arts and from Impressionism, into the twentieth century. The speaker is Myles Murphy, Senior Lecturer in Painting at Chelsea School of Art.
| Module code and title: | A351, Modern art from 1848 to the present: styles and social implications |
|---|---|
| Item code: | A351; 03 |
| First transmission date: | 1976 |
| Published: | 1976 |
| Rights Statement: | |
| Restrictions on use: | |
| Duration: | 00:24:30 |
| + Show more... | |
| Producer: | Mary Hoskins |
| Contributors: | Nigel Graham; Myles Murphy |
| Publisher: | BBC Open University |
| Keyword(s): | Circus; Grande Jatte; Modern art |
| Footage description: | Murphy outlines why the programme will look at Seurat's drawings and the influence, seen now, of his paintings. Throughout the programme there are shots of Seurat's drawings and paintings to accompany the commentary. Murphy describes his early career and his Beaux Arts studies. Seurat's early style of hatching is described with drawing examples. His conte crayon and Ingre paper techniques are also described. Murphy looks at Seurat's colour theories in more detail - firstly optical mix and secondly simultaneous contrast. He shows how they are used to effect in the drawings. Seurat's choice of subject matter from his immediate environment is noted. His mastery of the black and white contrasts of the conte crayon technique is discussed. Murphy also emphasises Seurat's formalism in his drawings. He examines Seurat's intent in using his particular techniques. The studies foir the Grande Jatte are examined in detail. Murphy describes the changes in Seurat's later drawings looking at their relation to theories of geometric proportion and dynamogeny. He comments on the lack of studies for the later paintings such as the Circus and their different function. Murphy sums up on the reasons for Seurat's lasting influence. |
| Master spool number: | 6HT/72021 |
| Production number: | 00525_3203 |
| Videofinder number: | 3331 |
| Available to public: | no |
