Everything is important but everything is mingled. An image with rising lines and warm colors will look optimistic. The Grande Jatte will have to be chilling, with an invading shadow in the foreground and stiff figures symbolizing the aberrations of the bourgeoisie.
The young artist is receptive to ideas about the balance of colors. Chevreul's psychophysiological observations that the vision of a pure color is accompanied by the perception of a halo of its complementary color convince him that the composition of the colors of a painting must not slavishly follow the nature.
Seurat spends the summer 1885 at the seaside, in Grandcamp, on the advice of Signac who also invites him to take an interest in intense lights. Seurat then tests with marine views his interpretation of Chevreul's theories, developing his new technique of dividing colors by horizontal brush strokes that will soon become dots. He names that practice the chromo-luminarisme.
On May 8 in New York, Christie's sells as lot 18 La Rade de Grandcamp, oil on canvas 65 x 81 cm on the rather happy theme of a regatta of horizontally aligned white sails.
The achievement of the Grandcamp series pleases him. Back in his studio, he retouches the Grande Jatte by reducing chromatic variations and by introducing the pointillism. When this work is completed in 1886, it triggers the inevitable break with the Impressionnistes. Only Fénéon is convinced. In 1887 Fénéon coins the neo-Impressionist wording to try showing that Seurat's art is not an opposition to Impressionism but another step on the path to a new art.
Passionate about his theories, Seurat retouched his artworks. Rade de Grandcamp is perhaps the only example left in its original state from his very first experiences in complementary color techniques.
SOLD for $ 34M including premium