Georges Seurat: 8IE-1886-175, Un dimanche à la Grande-Jatte
Now: 1884-86, DR139, A Sunday Afternoon 206×306, AI Chicago (iR2;R2,p420;R90II,p252+275;R207,p123;R183,no139) =2SdI-1886-353 =4XX-1887-1 =8SdI-1892-1082 =RB1900-18
Introduction: On this page you will find some pointillist paintings. Pointilism is a specific technique used within the earlier years of Neo-Impressionism. ‘a Sunday afternoon on the island of Grande Jatte‘ exhibited by Georges Seurat at the 8th ‘impressionist’ exposition in 1886 is the most important painting in which pointillism is used. This systhematic approach, of Seurat and others, is also called Scientific Impressionism. On this page you will find some examples. First of Seurat, then of Signac, then of other painters in an alphabetical order. Only more specific pointillist paintings will be shown. The paintings will be shown by form.
See also Divisionist paintings, neo-impressionist paintings, neo-impressionists and Neo-Impressionism. Note: additional pictures and info will be added.
If you double click on the first picture and then click on full screen, you can create a slideshow.
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Georges Seurat: 1886, DR162, Entrance to the Port of Honfleur, 54×64, Barnes Philadelphia (iR2;R207,p125;R183,no162;M25) =3SdI-1887-443 =9XX-1892-7 =8SdI-1892-1096
Georges Seurat: 1886, DR165 dH169, The beach, Le Bas-Butin at Honfleur, 67×78, MBA Tournai (iR6;R3,p271;R183,no165;R207,p124/5) =Nantes-1886-969 =4XX-1887-6 =3SdI-1887-440 =17LE-1910-169
Georges Seurat: 1886-88, DR178, The models (Poseuses), 200×250, Barnes Merion (iR6;R174,p175;R3,p301;R183,no178;M25) =4SdI-1888-163 =6XX-1889-1 =Anvers-ApA-1892-4 =9XX-1892-11
Georges Seurat: 1887-88, DR181 dH187, La Parade de cirque (Circus Sideshow), 100×150, Metropolitan (iR6;R3,p300;R183,no181;R207,p87+126;M23) =4SdI-1888-614 =9XX-1892-10 =8SdI-1892-1084 =RB1900-32 =EU-New York-1940-366
Georges Seurat: 1888, DR185, Seascape at Port-en-Bessin, Normandy (Les grues et la percée), 65×81, NGA Washington (iR6;R40,p74;R183,no185;R207,p129;M21) =6SdI-1890-732 =8SdI-1892-1102 =SdI-R-1926-3218
Georges Seurat: 1888, DR189, Sunday in Port-en-Bessin, 66×82, KMM Otterlo (iR6;R183,no189;R207,p128;M72) =6XX-1889-4 =6SdI-1890-728 =8SdI-1892-1098
Georges Seurat: 1889, DR192, Le Crotoy, Downstream (morning), 71×86, private (iR6;iR2;R207,p129;R183,no192) =5SdI-1889-241 =8XX-1891-3 =Anvers-ApA-1892-5 =9XX-1892-16 =8SdI-1892-1103 =Grafton-1910-54 =Brussels-1935-76
Georges Seurat: 1889, DR193, View of Le Crotoy from Upstream (afternoon), 70×86, Detroit IA (iR6;R183,no193;R207,p129) =5SdI-1889-242 =8XX-1891-2 =8SdI-1892-1104 =RB1900-33 =21SdI-1905-1
Georges Seurat: 1890, DR203, The Channel at Gravelines, Evening, 65×82, MuMa Le Havre (iR6;iR8;R183,no203;M15) =8XX-1891-7 =7SdI-1891-1106 =Anvers-ApA-1892-6 =9XX-1892-17 =8SdI-1892-1107 =11LE-1904-150 -21SdI-1905-3
Georges Seurat: 1890, DR207, The canal of Gravelines, in the direction of the sea, 73×93, KMM Otterlo (iR6;R183,no207;R207,p129+130;M72) =8XX-1891-5 =7SdI-1891-1104 =9XX-1892-18 =11LE-1904-149 =21SdI-1905-40
Paul Signac: 1886/09, CR125, opus 139, Hillside from downstream (Côte d’aval), Les Andelys, 64×95, AI Chicago (iR10;iR6;R39,no22;R106,no125;M20) =3SdI-1887-452
Paul Signac: 1886-87, CR136, opus 152, The dining room, 89×115, KMM Otterlo (iRx;R39,no24;R106,no136;M72) =3SdI-1887-449 =5XX-1888-1
Paul Signac: 1887/08, CR151, opus 164, Vue de Collioure, Le clocher, 33×46, MKM Otterlo (iR10;R56,p46;R106,no151;M72) =5XX-1888-9 = SdI-1888-629
Paul Signac: 1888, CR165, opus 181, Portrieux, Gouverlo, 46×55, Hiroshima MA (iR10;Mx;R106,no164) =7XX-1890-2 =6SdI-1890-744 =BJ1930-8 =PP1934-7
Paul Signac: 1888, CR166, opus 182, Portrieux, The masts, 46×55, private (iR10;iR6;R39,no29;R106,no166) =7XX-1890-3 =6SdI-1890-743
Paul Signac: 1889, CR196, opus 208, The Seine at Herblay (bords de rivière), 33×55, Orsay (iR10;iR6;R39,no39;R17,p168;R106,no196;M1) =8XX-1891 =7SdI-1891-1111
Paul Signac: 1890, CR211, opus 217, Portrait of Félix Fénéon (Sur l’émail d’un fond rythmique de mesures et d’angles, de tons et de teintes), 74×93, MoMa New York (iR2;R39,no51;R106,no211;R3,p321;M41) =7SdI-1891-1107 =8XX-1892-1 =GP1893-347 =PP1934-11
Paul Signac: 1891, CR220, opus 221, Concerneau, Sardine fishing (adagio), 65×81, MoMa New York (iRx;R39no56;R106,no220;M41) =9XX-1892-2a =8SdI-1892-1131 =Anvers-ApA-1892 =3LE-1896-391 =Brussels-1922-35
Paul Signac: 1892, CR229, opus 236, The port at sunset, Saint-Tropez, 66×82, private London (iRx;R39,no61;R106,no229) =10XX-1893 =Anvers-ApA-1893
Paul Signac: 1893-95, CR253, In the time of Harmony (The Golden Age is not in the past, it Is still to come), 300×400, Townhall of Montreuil (iRx;R39,no75;R106,no253) =11SdI-1895-1401 =3LE-1896-389 =SdI-R-1926-2367
Lucien Pissarro: 1887, CR19, SDbl, Portrait of Georges Pissarro in Camille Pissarro’s Studio, 64×80, Indianapolis MA (iR2;iR6;iR10;R125,no19;M165) =SdI-1887-366
Théo van Rysselberghe (1862-1926): 1890, July before noon (family-in-the-orchard), 115×163, KMM Otterlo (iRx;R68,p110/1+120;R229,p1523;M72) =7XX-1890 =7SdI-1891-1211
Théo van Rysselberghe: 1896, Paul Signac at the helm of the Olympia, 92×114, private (iRx;R68,p137;R39,p39;R106,p44)
Georges Seurat: 1888-90, DR195 dH200, Young woman powdering herself, 95×79, Courtauld London (iR6;R3,p319;R183,p195;M60) =6SdI-1890-727 =9XX-1892-14 =8SdI-1892-1085 =RB1900-35
Georges Seurat: 1889-90, DR199, Le Chahut (Singers), 169×141, KMM Otterlo (iR2;R183,no199;R207,p128;M72) =8SdI-1890-726 =8XX-1891-1
Georges Seurat: 1890-91, DR211 dH213, Le Cirque (The Circus), 186×151, Orsay (iR6;R3,p329;R207,p94+130;R183,no211;M1) =7SdI-1891-1102 =9XX-1892-19 =8SdI-1892-1087 =RB1900-39 =21SdI-1905-1087 =Venice-1920-53 =Brussels-1935-74
Paul Signac: 1888-90, CR197, Opus 201, Sunday, 150×150, private (iR2;R39,no40;R106,no197) =6SdI-1890-736
Paul Signac: 1892, CR234, Women at the well (Jeunes Provençales au puits; décoration pour un panneau dans la pénombre), opus 238, 195×131, Orsay (iRx;R39,no63;R106,no234) =9SdI-1893-1214 =1LE-1894-396
Paul Signac: 1893, CR250, Woman with a parasol, opus 243 (portrait of Berthe Signac), 82×67, Orsay (iRx;R39,no69;R106,no250;M1) =1893/12-1 (expo Néo-Impressionists)
Théo van Rysselberghe (1862-1926): 1888, Portrait of Mlle Alice Sèthe (later Mme Paul du Bois), 194×96, MdMD Saint-Germain-en-Laye (M214;iR10;R68,p117+111;R229,p1522) =6XX-1889 =6SdI-1890-782, Portrait de Mme D.B.
Théo van Rysselberghe (1862-1926): 1891-92, Emile Verhaeren in His Study (rue du Moulin), 86×75, BRB Brussels (iRx;R68,p85+111;R229,p1523) =SdI-1892-1198
