Seurat, account



Impressionism, a historical reconstruction:

Georges Seurat



of his exhibited works


On this page you will find an extended account of the works that Seurat exhibited at the 8th ‘impressionist’ exposition and a less extended account of the works he exhibited at other exhibitions. For most suggestions I refer to Moffett (R2), Berson (R90II), Jooren (R207), Dorra & Rewald (=DR=R183). For general info on Georges Seurat and the used sources see the main page. See link for his pictures exhibited in 1886 and at other exhibitions.


The 8th ‘impressionist’ exposition 1886:

  • catalogue numbers 175-183.
  • in total Seurat exhibited 9 works, including 3 drawings
    • 5x indication of place, 3x Grand-Camp (no.167-8).
    • 0x indication of time, season or weather
    • 0x a study
    • 3x loans (appartient à…): M. Appert (no. 180), M. J.K. Huysmans (no. 182), Mme Robert-Caze (no. 183).
  • See for the suggestions of Moffett (R2,p446) and of Berson (R90II,p252+275/6). They refer to Dorra, Henri & John Rewald: Seurat, L’oeuvre peint, biographie et catalogue critique. Paris, 1959 (=DR). Berson also refers to suggestions made by Herbert in Cachin, François et al: Georges Seurat, exhibition catalogue. Paris, 1991.
  • See link for his exhibited pictures.

Outtakes of reviews:
Paul Adam (1886/04): ‘The Marines … Their calm immensity is obvious at first sight… M. Seurat manages to give, as well as M. Pissarro, the sensation of visual emptiness in the expanse of atmosphere.’ (R90I,p429/430).
Félix Fénéon (1886/06/13-20): ‘These colours, isolated on the canvas, are recomposed on the retina: we have therefore not a mixture of colours – materials (pigments), but a mixture of light colours. (…) It is therefore conceivable that, in their effort to express the luminosities of reality, the Impressionists, like Delacroix in some cases, wanted to replace the mixture on the palette with an optical mixture. M. Georges Seurat, the first, has presented a formula complete and systhematique of this new painting.’ (R90I,p444)
Marcel Fouquier (1886/05/16): ‘M. Seurat is surely the terrible choirboy of the church at the Rue Laffitte.’ (R90I,p449).
Gustave Geffroy (1886/05/26): ‘Three nice seascapes reporting Grandcamp.’ (R90I,p450).
Maurice Hermel (1886/05/28): ‘although the dotted workmanship still seems too apparent to me, there is a vibrancy of light, a richness of colour in the shadows impregnated with light, a soft and poetic harmony, something milky and flowery that voluptuously caresses the retina.’ (R90I,p457).
Firmin Javel (1886/05/16): ‘M. Georges Seurat walks in the same path as M. Pissarro Sr.’ (R90I,p459).
Octave Maus (1886/06/27): ‘The messiah of a new art, or this cold mystifier, is M. Georges Seurat. (…) In this way, they reveal an artistic nature singularly capable of decomposing the phenomena of light, of penetrating its prism, of expressing, by simple but skilfully combined means, the most complicated and intense effects.’ (R90I,p464).
Jules Vidal (1886/05/29): ‘Some are quiet painters with a solid tonal clarity, such as Seurat, whose seascapes are skilfully executed and vibrant with fresh air, with an impression of sadness that is a charm.’ (R90I,p472)
X in La Liberté (1886/05/18): ‘In Impressionism, it is, moreover, the landscape painters who rebel most violently against the old prodigies. M. Georges Seurat is not at all inferior to M. Pissarro in this respect.’ (R90I,p474).

1886 catalogue: (R2,p446;R90I,p424;iR1)

8IE-1886-175, Un dimanche à la Grande-Jatte (1884)
Now: 1884-86, DR139, Sunday afternoon on the Island of La Grande-Jatte, 206×306, AI Chicago (R2,p420;R90II,p252+275;R207,p123). There were many reviews. Labruyère (1886/05/28) calls it a mistake or a hoax (R90I,p461). Javel also calls it a mistake. Adam wrote that no one understands it’s beauty: ‘An extraordinary range of colours.’ Ajalbert: ‘… renders well the impression of the intense life that flows, on a summer sunday, in the Paris suburbs. And how the distance becomes blurred! And how the water flows, different according to the play of light, and limpid and slow, always. Yes, it is truely a synthetique art-work…’ (R90I,p433). Christophe wrote: ‘… he tried to catch the difference of attitudes in age, gender and social classes.’ (R90I,p437). Darzens: ‘It are the entries of M Seurat that strike the most. this painter has in a large composition, exaggerates his using of dots by making it almost theoretical. … every dot has it’s own colour and it’s the juxtaposition of these colours that gives, with a few meters distance, an intense and unified effect of light.’ (R90I,p438). Emile Hennequin: ‘is raw in tone and the characters are drawn like badly made mannequins.’ (R90I,p454). Maurice Hermel: ‘sign of a new school … with it’s modern symbolism. … M. Seurat is a radical reformer…  He decomposes the prism with an implacable logic; he inaugurates on the canvas the tapestry with the small point.’ (R90I,p457). Octave Maus: ‘In Brussels, la Grande-Jatte would cause a scandal.’ (R90I,p464). J.M. Michel: ‘This is the highlight of the exhibition in terms of procedure.'(R90I,p465). Octave Maus: ‘an egyptian fantasy’. (R90I,p466). Vidal: ’the slightly angular figures’ (R90I,p472). X.: ‘a phantasmagoria (…) It is accurate as a photograph, but it announces nothing living. As for the colour, it is essentially false, and nothing in the values seems likely to ward off its disastrous effect.’ (R90I,p474).

8IE-1886-176, Le bec du Hoc (Grand-Camp)
Now: DR153, 65×82, Tate Gallery, London (R2,p465+252;R90II,p252+275;R207,p122). There were several reviews. Geoffroy reviewed ‘Le bec du Hoc, reproduces well the faaouche / faulty aspect of the rock and the melancholy of the sea (R90I,p450).

8IE-1886-177, Le fort Samson (Grand-Camp)
Moffett suggests it was lost during World War II. Berson renders a location: DR157, 69×81, Hermitage (R90II,p252+275;R207,p122). There were several reviews. Auriol writes ‘It has a penetrating melancholy.’ (R90I,p434) Fouquier: ‘presents foregrounds of reddish grass dried by the salt breeze, with oppositions of both oily and dusty terrain, which are admirably rendered, against the background of the shaded and boundless sea.’ (R90I,p449).

8IE-1886-178, La rade de Grand-Camp
Now: 1885, DR154, The harbour at Grandcamp, 65×81, private collection (R2,p465+252;R90II,p252+275;R207,p122). There were several reviews. Mirbeau ‘a penetrating melancholy’ (R90I,p466).

8IE-1886-179, La Seine, à Courbevoie
Now: DR161, 82×65, private collection in Paris (R2,p465+252;R90II,p252+275;R207,p122). There were several reviews.

8IE-1886-180, Les pêcheurs; appartient à M. Appert.
Now: 1883, SDbl, DR80, Les pêcheurs à la ligne (étude pour la Grande Jatte), 16×25, Musée d’Art Moderne Troyes(R2,p465+252;R90II,p252+275;R207,p123). There were 5 reviews. Ajalbert described ‘with men, installed on the banks, their lines in the water’ and Christophe ‘4 fishermen close to a boat’; A. Ravier: ’two anglers’ (R90I,p433+437+471). Darzens calls it a ‘master piece’, Ravier ’the jewel of the exposition’ (R90I,p438+471).

8IE-1886-181, Une parade, dessin.
Moffett mentions: Previously thought to be in a private collection in Lexington Kentucky. Berson suggests: Une Parade: Clowns et poney, conté drawing, 32×24, The Philips collection Washington (R90II,p252+276). Berson refers to the reviews of Ajalbert (a curious drawing, the clowns on there hoppers; (=’trétaux’ =NL. trechters) and Labruyère (1886/05/28): How much do I like his Parade where two exquisite clowns put on a show for the public (R90I,p461).

8IE-1886-182, Condoléances; dessin; appartient à M. J.K. Huysmans
Now: 1886, Réunion de famille, conté crayon, 24×32, private coll Switzerland (R2,p466+252;R90II,p252+276). Berson refers to the reviews of Geffroy (a curious expressive drawing, buried in the dark) and Javel (just mentions the title) (R90I,p450+459).

8IE-1886-183, La banquiste; dessin; appartient à Mme Robert-Caze
Eng.: the banker. Moffett doesn’t have a suggestion. Berson suggests: conté drawing, 24×32, private (R90II,p252+276). Berson refers to the review of Javel, who just mentions the title (R90I,p459).



Georges Seurat at the Salon:
Seurat exhibited just 1x at the Salon de la Société des Artistes Français. Maybe he was rejected in 1884. Seurat only exhibited at the Salon in 1883 with a drawing of his friend Aman-Jean (iR1;R162;R40). A drawing of his mother embroidering was rejected (R40).

SdAF-1883- 3189, Broderie
Additional info: Dessins, cartons, aquarelles, pastels, miniatures vitraux, émaux, porcelaines, faïences.
Eng.: Embroidery. Nl.: Borduurwerk / borduren. The title was wrongly rendered. In reality is was a drawing of Aman-Jean (R207,p122;R162;R40,p93). Also exhibited as 1SdI-1884/12-243

SdAF-1883-R, Broderie
Maybe: 1882-84ca, Embroidery (The Artist’s Mother), conté, 32×24, Metropolitan (iR10;M23;R183,pXLI;R40,p93).

Bathing at Asnières was rejected for the Salon (R40,p93). Shortly after it was exhibited as: GdAI-1884/05-261, Une baignade (Asnières).


Georges Seurat at the Salon des Indépendants:
Seurat exhibited at the Salon des Indépendants from 1884-1891 (R229,p1582/3;R162;R39,p299-303;R40,p33+93/4;R126). In 1892 and 1905 there were large retrospectives held. (R229,p1582-4;R183,p281/2).

1884/04 (=GdAI-1884/05):

GdAI-1884/05-261, Une baignade (Asnières).
=8SdI-1892-1081. =21SdI-1905-S4. (Félix Fénéon)

1SdI-1884/12: (=1SdI-1884/12):

1SdI-1884/12-241, L’Île de la Grande-Jatte (étude).
=? 21SdI-1905-S2 or 5 or 19.

1SdI-1884/12-242, Neuf croquetons.
Eng.: 9 studies. Probably studies for ‘La Grande Jatte’ (R162,p95).

1SdI-1884/12-243, Portrait de M. A.J. (Aman Jean) (dessin).


2SdI-1886-353, Un dimanche à la Grande-Jatte – 1884.
=8SdI-1892-1082. =21SdI-1905-S18 (Edmond Cousturier).

2SdI-1886-354, Le bec du Hoc (Grandcamp).

2SdI-1886-355, La Rade de Grandcamp.

2SdI-1886-356, La Seine à Courbevoie.
=8SdI-1892-1089. =21SdI-1905-S21 (Paul Signac).

2SdI-1886-357, Coin d’un bassin (Honfleur).
=8SdI-1892-1094. =21SdI-1905-S36 (Émile Verhaeren).

2SdI-1886-358, Grandcamp (soir).

2SdI-1886-359, La Luzerne (Saint-Denis).

2SdI-1886-360, Bateaux.

2SdI-1886-361, Croqueton (Courbevoie).
=? 8SdI-1892-1113.

2SdI-1886-362, Bords de la Seine (Croqueton).

1887/03/26: Seurat was part of the hanging committee (R39,p301;R162).

3SdI-1887-439, Le phare d’Honfleur. Appartient à M. Émile Verhaeren.
=8SdI-1892-1095 =21SdI-1905-S37, L’Hospice et le Phare.

3SdI-1887-440, La grève du Bas-Burin (Honfleur). Appartient à M. Van Cutsem.

3SdI-1887-441, Embouchure de la Seine (Honfleur).

3SdI-1887-442, Le pont de Courbevoie. Appartient à M. Arsène Alexandre.

3SdI-1887-443, Entrée du port d’Honfleur. Appartient à M. Félix Fénéon.
=!? 8SdI-1892-1096.

3SdI-1887-444, La Maria (Honfleur).

3SdI-1887-445, Bout de la jetée d’Honfleur.

3SdI-1887-446, Poseuse.
=? =8SdI-1892-1115 or 1116.

3SdI-1887-447, Douze croquis.
Eng.: 12 studies. According to Düchting probably studies for ‘Les Poseuses’ (R162,p95), this seems to be confirmed by a review of Huysmans (R40,p68+77). But Dorra + Wildenstein render just 8 prepatory studies (R183,DR173-178). Berger assumes these were the same as exhibited in New York in 1886 and that they were represented in one frame (R207,p138). This would plead for 12 horizontal pictures all with the often used 16x25cm size. Berger suggests DR10 +84 +90 +92 +96 +127 +152 and adds to the New York exhibition DR49 +150. None of them are studies for ‘Les Poseuses’. This suggestion also is curious when no.446 already is a study for ‘Les Poseuses’.

3SdI-1887-448, Eden concert.

1888/03/22: Seurat exhibited ’the models’, ‘invitation to the Sideshow’ and 8 drawings (R40;R39,p302).

4SdI-1888-613, Poseuses.

4SdI-1888-614, Parade de cirque.

4SdI-1888-615, Au Concert européen.
=?? 8SdI-1892-1125 or 1126 (dessin).

4SdI-1888-616, A la Gaîté Rouchechouart.

4SdI-1888-617, Au Divan japonais.
=!? 1887-88ca (1889-90ca), DR197a dH690, Au divan japonais (study for Le Chahut), dr, 32×24, A2008/12/03 (or Metropolitan) (iR10;iR6;iR14;iR183,no197a;R207,p127;R229,p1882+1584;M23) =!? 8SdI-1892-1125, Café-concert
Note: the suggestion made by Berger (R207,p127) is not confirmed by Dorra & Rewald (R183,no197a), nor by the Metropolitan (M23).

4SdI-1888-618, Forte Chanteuse.

4SdI-1888-619, Dîneur.
=? 8SdI-1892-1121 (dessin). =? 21SdI-1905-S27 (dessin) (Paul Signac).

4SdI-1888-620, Lecture.
=? 8SdI-1892-1122 (dessin).

4SdI-1888-621, Balayeur.

4SdI-1888-622,  Jeune fille.


5SdI-1889-241, Le  Crotoy (aval).
=8SdI-1892-1103. =? 21SdI-1905-S1.

5SdI-1889-242, Le Crotoy (amont).
=8SdI-1892-1104. =? 21SdI-1905-S1.

5SdI-1889-243, Port-en-Bessin.


6SdI-1890-726, Chahut.

6SdI-1890-727, Jeune femme se poudrant.

6SdI-1890-728, Port-en-Bessin un dimanche.

6SdI-1890-729, Port-en-Bessin, l’avant-port (marée basse). Appartient à M. de La Hault.
=8SdI-1892-1101. =? 21SdI-1905-S38 (Théo van Rysselberghe).

6SdI-1890-730, Port-en-Bessin, l’avant-port (marée haute).

6SdI-1890-731, Port-en-Bessin, entrée de l’avant-port.

6SdI-1890-732, Les Grues et la Percée.
=!? 8SdI-1892-1102, (Port-en-Bessin, 1888).

6SdI-1890-733, Temps gris. Grande-Jatte.
=8SdI-1892-1091. =21SdI-1905-S41 (Alexandre Seon).

6SdI-1890-734, Printemps. Grande-Jatte.

6SdI-1890-735-1, Paul Alexis.

6SdI-1890-735-2, Paul Signac.
=? 8SdI-1892-1124 (dessin).


7SdI-1891-1102, Cirque.
=8SdI-1892-1087. =21SdI-1905-S20 (Paul Signac).

7SdI-1891-1103, Le Chenal de Gravelines: Grand Fort Philippe.

7SdI-1891-1104, Le Chenal de Gravelines: Direction de la mer.
=8SdI-1892-1106. =21SdI-1905-S40 (Braun).

7SdI-1891-1105, Le Chenal de Gravelines: Petit Fort Philippe.

7SdI-1891-1106, Le Chenal de Gravelines: Un soir.
=8SdI-1892-1107. =21SdI-1905-S39 (Théo van Rysselberghe).


Georges Seurat at the Exposition Universelle:
Some works of Seurat were exhibited at the Expositions Universelle.

Works of Seurat were exhibited at the Centennial exhibition of the Exposition Universelle of 1900 in Paris (R183,p281).

EU-C-1900-610, Le port de Grandcamp (à Mme Aghion). =DR154

1940/05/? – 10/?:
Works of Seurat were exhitibed at the exhibition called Masterpieces of Art, being part of the World’s Fair in New York (R183,p284+no171+181+186).


Georges Seurat at Centennial exhibitions:
Works of Seurat were exhibited at Centennial exhibitions, namely in Saint-Petersbourg in 1912 (iR261;R183,p281).

Saint-Petersbourg-1912-592. Port de Honfleur (Harbor in Honfleur]  [Druet in Paris] =DR169
Saint-Petersbourg-1912-593. Le Phare et l᾿Hospice d᾿Honfleur (Lighthouse]  [Bernheim in Paris] =DR168

Georges Seurat at Les XX in Brussels:
Seurat exhibited at Les XX in Brussels.

1887/02/ 02: exhibited ‘La Grande Jatte’ and 6 seascapes (of Honfleur and Grandcamp) at the 4th exhibition of Les XX in Brussels (R88II,p210;R40,p43;R162;R207,p124/5;R183).

4XX-1887-1, Un dimanche à La Grande-Jatte. =DR139

4XX-1887-2, Le Bec du Hoc, Grandcamp. =DR153

4XX-1887-3, La Rade de Grandcamp. =DR154

4XX-1887-4, Coin du bassin de Honfleur. =DR166

4XX-1887-5, L’hospice et le phare d’Honfleur. =DR168

4XX-1887-6, La Grève du Bas-Butin, Honfleur. =DR165

4XX-1887-7, Embouchure de la Seine, soir. =DR171

1889/02: exhibited 6 seascapes of and 6 other works at the exhibition of Les XX in Brussels, where he was the guest of honour (R40,p78;R162;R207,p127-129;R183).

5XX-1888-1, Les poseuses. =DR178

5XX-1888-2, Bords de la Seine (Île de la Grande-Jatte). =DR183

5XX-1888-3, Temps gris (Île de la Grande-Jatte). =DR190

5XX-1888-4, Port-en-Bessin, un dimanche. =DR189

5XX-1888-5, Port-en-Bessin, Le pont et les quais =DR187

5XX-1888-6, Port-en-Bessin, L’avant-port (marée haut) =DR188

5XX-1888-7, Port-en-Bessin, L’avant-port (marée basse) =DR184

5XX-1888-8, Port-en-Bessin, Les jetées. =DR186

5XX-1888-9, Les Grues et la Percée. DR185

5XX-1888-10, M. Paul Alexis, dessin.

5XX-1888-11, Au concert Européen, dessin.

5XX-1888-12, À la Gaîté Rochechouart, dessin.

1891/02/07: exhibited with Les XX in Brussels 7 works, including ‘Le Chahut’, 2 seascapes from Crotoy and 4 from Gravelines. (R88II,p211;R162;R207,p128-130;R183).

8XX-1891-1, Le Chahut. =DR199.

8XX-1891-2, Le Crotoy: Amont. =DR193

8XX-1891-3, Le Crotoy: Aval. =DR192

8XX-1891-4, Le chenal de Gravelines: Grand Fort Philippe. =DR206

8XX-1891-5, Le chenal de Gravelines: direction de la Mer. =DR207

8XX-1891-6, Le chenal de Gravelines: Petit Fort Philippe. =DR205

8XX-1891-7, Le chenal de Gravelines: un soir. =DR203

In 1892 posthumously 18 art-works were exhibited. Including DR (R183)

9XX-1892-2, =DR161
9XX-1892-3, =DR154
9XX-1892-4, =DR153
9XX-1892-5, =DR166
9XX-1892-6, =DR168
9XX-1892-7, =DR162
9XX-1892-8, =DR171
9XX-1892-9, =DR169
9XX-1892-10, =DR181
9XX-1892-11, =DR178
9XX-1892-12, =DR188
9XX-1892-13, =DR184
9XX-1892-14, =DR195
9XX-1892-15, =DR183
9XX-1892-16, =DR192
9XX-1892-17, =DR203
9XX-1892-18, =DR207


Georges Seurat at regional exhibitions:
Works of Seurat sometimes were exhibited at regional exhibitions.

Nantes, 1886:
Works of Seurat were exhibited in Nantes in 1886 (R183,p281+CR165+168)


Georges Seurat at La Libre Esthétique in Brussels:
Works of Seurat were posthumously exhibited at La Libre Esthétique in Brussels in 1904 + 1910 (iR261;R183,p281).

11LE-1904-144, =DR154
11LE-1904-145, =DR153
11LE-1904-146, =DR168
11LE-1904-147, =DR183
11LE-1904-148, =DR190
11LE-1904-149, =DR207
11LE-1904-150, =DR203

17LE-1910-167. Le Quai d’Honfleur (1886) =DR166
17LE-1910-168. La Seine à la Grande-Jatte (1888) (appartient à Mlle A. Boch) =DR183
17LE-1910-169. Marine (appartient à Collection Van Cutsem) =DR165


Georges Seurat at international exhibitions:
Works of Seurat were also exhibited at other international exhibitions:

Georges Seurat at the Crafton galleries in London:

1910/11/08 – 1911/01/15:
At the exhibition called Manet and the Post-Impressionists works of Seurat were exhibited (R183,p281+CR192)

Georges Seurat in Venice:
Works of Seurat were exhibited at the XIIa Esposizione Internazionale d’Arte della Gitta di Venezia in 1920 (R183,p282).



Recommanded citation: “Impressionism: Georges Seurat, account of his exhibited works. Last modified 2024/01/30.