Seurat painted five series of paintings carefully constructed to help form 3D space.
Some paintings have figures and action which goes beyond staffage, and provides narrative, meaning, or puzzles.
Because these landscape elements are constrained within the overall work, the artist has complete control over them, something reflected in their reading too. Such cameo landscapes are never awe-inspiring, but subjugate to the whole.
I am going to try getting inside the artistic imagination of important landscape painters, and discovering the vision that each had of the landscape. Here are some hors d’oeuvres.
In the late 1880s, several painters started to work in the rural area of Heidelberg, east of Melbourne, adopting a style which later became known as Australian Impressionism.
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.
From his first influence by Impressionism, van Rysselberghe explored a world of vivid light and colour, painting some of the most distinctive works of the late nineteenth and early twentieth centuries.
A luminous painting of the port of Marseille in dawn light, looking up towards the ‘Good Mother’ church, marks the height of both Neo-Impressionism and Fauvism.