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| Young Woman Powdering Herself - 1889-1890 |
In this painting, the variation of light and shadow on the wall is achieved with the use of small dots of pure color next to each other in varying concentrations and intensities. The young model depicted by Seurat was his mistress, Madeleine Knobloch, who bore him two sons (both died very young), and this painting, therefore, takes on a very personal meaning. Seurat kept his relationship secret.
Seurat placed colors from opposite sides of the color wheel--orange and blue, pink and green--next to each other for greater contrast. One might say that the woman in the painting is from an upper class based on the fact that she is wearing jewelry and has a salon table to put her makeup on. Notice the cramped table top which holds a delicate stand with a mirror and two perfume bottles. The painting shows that it is important for women from all eras to have time to themselves away from stress, expectations and people.
Recent x-rays have revealed that the seemingly sweet flowers painting in the top left corner was originally a self-portrait of Seurat. The story goes that a friend ridiculed it, so Seurat replaced his likeness with the flowers. Recent technology provided historians with a clear image of Seurat's self-portrait underneath the vase of flowers (right). With an elongated face, pointed beard and paintbrush in hand, Seurat represented himself painting. Sadly, that was the only self-portrait Seurat ever painted.
This painting is located in the Courtauld Institute of Art in London.
How interesting that technology has allowed one to discover what the painter is “hiding”. I am especially intrigued with the intensity and definition in this work, also seen in LeChahut (1889-1890) and a much earlier one Bathers at Asniers (1884). As I mentioned earlier, I am intrigued with the process and progression of his art….Love all your helpful explanations…M
ReplyDeleteM.......wonderful analysis of Seurat's work.
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