An artwork on Galleree from Cleveland Museum of Art.
About the artwork
At the Concert Parisien1887–88
Georges Seurat
Georges Seurat entered the École Municipale de Sculpture et de Dessin in Paris at the age of fifteen, where he studied with the sculptor Justin Lequien (1826-1882) and met Aman-Jean (q.v.). At the École des Beaux-Arts three years later he was taught by Henri Lehmann (1814-1882), a former pupil of Ingres (q.v.). He developed an interest in the color theory of Michel-Eugène Chevreul, who had postulated how the isolation and juxtaposition of colors can affect their perception. In the Louvre he studied the works of two master colorists, Rubens (1577-1640) and Delacroix (q.v.). Seurat attended the Fourth Impressionist Exhibit in 1879, and he later confessed to be particularly shocked by the works of Monet (q.v.) and Pissarro (q.v.). After spending a year in military service on the Breton coast, Seurat started experimenting with drawing, using conté crayon and heavily textured "Ingres" paper to build up his figures through a wide range of tones, avoiding contour outlines. He also probably read Ogden Rood's Théorie Scientifique des Couleurs, which further investigated the perception of color and advocated the use of pure color in painting. Seurat additionally undertook to analyze the optical and emotional effects of various color combinations in his paintings, initiating studies for the Bathers at Asnières (1883, National Gallery, London). This painting appeared at the 1884 Salon des Indépendants, where he met Paul Signac (1863-1935), who became an important spokesman for neo-impressionism. Seurat's next major painting, Sunday Afternoon on the Island of La Grande Jatte (1884-86, Art Institute of Chicago), established him as the leader of the neo-impressionists. He began spending his summers on the Normandy coast, where he often started his large canvases that he would finish in his Paris studio during the winter. He was protective of his position as leader of the neo-impressionists, causing arguments with Pissarro and Signac in the late 1880s. His interest in using pure color influenced the symbolists as well as later "hard edge" painters of the modern era.
Café-concerts were popular places of entertainment for the middle classes in Paris during the late 1800s and usually featured singers or other forms of vaudeville entertainers. Georges Seurat created eight drawings depicting café-concerts, some showing known establishments. This drawing has an innovative viewpoint, in which we peer through the bowler hats of male viewers listening to a female singer on stage. Seurat typically used a black crayon manufactured by the Conté company, and its waxy quality allowed him to exploit the texture of paper to striking effect.
Despite Georges Seurat's brief lifespan, he created a large number of drawings, working almost exclusively with the waxy Conté crayon and textured paper used for this sheet.
conté crayon heightened with white chalk on cream handmade modern laid paper
Sheet: 31.4 x 23.6 cm (12 3/8 x 9 5/16 in.)
Leonard C. Hanna, Jr. Fund
In the heart of late 19th-century Paris, a new form of entertainment blossomed, drawing together the middle classes for evenings filled with laughter and music. The vibrant atmosphere of café-concerts enveloped the city like a warm embrace, with singers serenading lively crowds and vaudeville entertainers dazzling audiences. These gatherings were a refuge from the mundane, a space where stories unfolded in melodies, and dreams floated in the smoky twilight.
Amidst this bustling tapestry, the artist Georges Seurat sought to capture the essence of these moments in his work. With a keen eye for the nuances of social interaction, he created eight delicate drawings that paid homage to these beloved establishments. One particular drawing stands out—its perspective unique and inviting, offering a glimpse into the world through the graceful curves of bowler hats worn by the attentive male viewers.
As we peer through these hats, we find ourselves drawn into the scene, watching a female singer luminous in her performance, the soft light of the café reflecting the joy of the audience. Seurat, ever the master of observation, employed a black crayon from the Conté company, its rich, waxy texture allowing him to intertwine light and shadow with remarkable finesse. The drawings practically breathe, as each stroke speaks of the energy and emotion within these walls.
In this moment, we become part of the story—a part of the laughter, the music, and the dreams shared under the Parisian night sky. Seurat’s art invites us not merely to look, but to listen and to feel, a silent testament to the power of gatherings and the stories they weave together.
About the artist
Creating transformative experiences through art “for the benefit of all the people forever.”The Cleveland Museum of Art is renowned for the quality and breadth of its collection, which includes more than 66,500 artworks and spans 6,000 years of achievement in the arts. The artworks shared on this platform are sourced from the museum's Open Access data under the CC0 license. No endorsement is implied.Address: 11150 East Boulevard, Cleveland, OH, USA 44106
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