Seurat was interested in much more than the perception of colour, and in his reading of contemporary science (particularly that of von Helmholtz) and in his paintings, explored much of visual experience.
Pissarro
Compared with most other European countries, Impressionism largely passed British painters by.
His richly colourful paintings of women are reminiscent of Renoir at his best, and some of his later studies of nudes appear to owe much to the influence of Degas.
There are several uncanny parallels with the Impressionists, including the importance of the tache and plein air painting, early critical hostility followed later by acceptance, and of course the tragic deaths of Sernesi and Bazille in war.
This book looks at the type of painting which was central to Impressionism – the plein air landscape – and traces its development from inception by Desportes in the latter years of the seventeenth century, through the Barbizon School, to its peak in the late nineteenth century.
This article summarises the information that I have now obtained from working through that catalogue raisoné, and includes new information on Pissarro’s series paintings.
Perhaps they are the landscape equivalent of serial self-portraiture after all.
This article considers Claude Monet’s series paintings: how they developed, which major series he produced, and what he intended by painting them.
This article considers Alfred Sisley’s series paintings: how they developed, which major series he produced, and what he intended by painting them.
This article considers Camille Pissarro’s series paintings: how they developed, which major series he produced, and what he intended by painting them.
The Eclectic Light Company 