ALAN McGUIRE welcomes a biography of the French semiologist and philosopher
Georges Seurat: The Bathers at Asnieres and A Sunday on La Grande Jatte
Class-conscious canvases from the artist who introduced scientific principles to painting
PERFECTLY POINTILLIST: (Left) The Bathers at Asnieres (1884) and (right) A Sunday on La Grande Jatte (1886)
ALEX HALL is frustrated by a book that ducks a clear definition of terrorism and fails to perceive the role of the state in sponsoring it
JOE GILL wholeheartedly recommends an eloquent manifesto: how to change the world one local project at a time
Inspired by a photograph, a unique memorial in Michigan immortalises US true labour heroes. MICHAL BONCZA recalls a great story rarely told
MARIA DUARTE, LEO BOIX and ANGUS REID review Brides, Dead of Winter, A Night Like This, and The Librarians
MARIA DUARTE is entertained by a wry portrait of befuddled resistance to US authoritarianism
GEORGES SEURAT’S iconic The Bathers at Asnieres (1884) and its “companion” canvas A Sunday on La Grande Jatte (1886) are probably among the best-known paintings by Impressionists.
But, unlike others, Seurat eschewed spontaneity for a meticulously scientific approach to colour and once memorably said: “Some say they see poetry in my paintings; I only see science.”
Early on, he had met and worked with chemist Michel-Eugene Chevreul, who had noticed that the perception of colour was not about the individual pigment but how the human brain processed adjoining colours.
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