Parts of the Whole

This gallery exhibits artworks painted using a technique known as divisionism. This technique was developed in 1884 by Georges Seurat and is prominently shown in his painting "A Sunday on La Grande Jatte". Divisionism is characterized by the use of small bits of paint used to create a whole picture. Seurat's style of divisionism would become known as pointillism. This is characterized by the use of small, unblended dots of paint. Van Gogh would go on to develop a form of divisionism known as impasto. This technique was less concerned with the use of unblended colors, but rather strokes of a color to create texture within a painting. The use of impasto is especially evident in van Gogh's famous "The Starry Night". You can see how the layering of brush strokes and use of contrasting colors really makes images like the moon stand out in the painting. I chose this theme for my gallery because I found the technique itself fascinating. Viewers will be able to see first hand what I am talking about. From a distance you can clearly see what the subject of a particular painting is, like a house in Camille Pissarro's "Peasants' Houses, Eragny". However from close up the image becomes distorted and abstract. This is caused by the use of dots of unblended color rather than conventional painting. I think I like this so much because it is a way of painting a subject while still leaving a lot of interpretation up to the viewer.This technique can be appreciated by zooming in on the paintings, examining the small paint blots, and then zooming out again to view the piece in a whole new way. Also I was drawn to the hazy pictures that this technique produces because they seemed to me somewhat mystical and enchanting. Viewers of this gallery can expect to see a lot of paintings about the beauty of both nature and civilization.

Imperial Fritillaries in a Copper Vase, Vincent van Gogh, 1887, From the collection of: Musée d’Orsay, Paris
Beach at Vignasse, The Golden Isles, Henri Edmond Cross, 1891 - 1892, From the collection of: MuMa - Musée d'art moderne André Malraux
The Last Kiss, Francisco Romano Guillemín, 1916, From the collection of: Museo Nacional de Arte
In the Woods, Pierre-Auguste Renoir, c. 1880, From the collection of: The National Museum of Western Art, Tokyo
La Luzerne, Saint-Denis, Georges Seurat, 1884 — 1885, From the collection of: Scottish National Gallery
The Large Poplar II (Gathering Storm), Gustav Klimt, 1903, From the collection of: Leopold Museum
Gasometers at Clichy, Paul Signac, 1886, From the collection of: National Gallery of Victoria
Pine Trees, Mališa Glišić, 1912, From the collection of: The Pavle Beljanski Memorial Collection
Peasants' houses, Eragny, Camille Pissarro, 1887, From the collection of: Art Gallery of New South Wales
The Starry Night, Vincent van Gogh, 1889, From the collection of: MoMA The Museum of Modern Art
La Récolte des Foins, Éragny, Camille Pissarro, 1887, From the collection of: Van Gogh Museum
Conversation, Camille Pissarro, c. 1881, From the collection of: The National Museum of Western Art, Tokyo
Woman with a Straw Hat, Stojan Aralica, 1934, From the collection of: The Pavle Beljanski Memorial Collection
The Italian Woman, Vincent van Gogh, 1887, From the collection of: Musée d’Orsay, Paris
Self-portrait with grey felt hat, Vincent van Gogh, September 1887 - October 1887, From the collection of: Van Gogh Museum
A Sunday on La Grande Jatte, Georges Seurat, 1884-1886, From the collection of: The Art Institute of Chicago
Garden with Courting Couples: Square Saint-Pierre, Vincent van Gogh, May 1887, From the collection of: Van Gogh Museum
The Quai Saint-Michel and Notre-Dame, Maximilien Luce, 1901, From the collection of: Musée d’Orsay, Paris
Ponte della Paglia, Maurice Prendergast, 1898-99, reworked 1922, From the collection of: The Phillips Collection
The Pont-Neuf, Camille Pissarro, 1902, From the collection of: Museum of Fine Arts, Budapest
The Seine at Saint-Cloud, Edvard Munch, 1890, From the collection of: The Munch Museum, Oslo
The Pilots' Jetty at Le Havre, Camille Pissarro, 1903, From the collection of: MuMa - Musée d'art moderne André Malraux
The Port of Saint-Tropez, Paul Signac, 1901 - 1902, From the collection of: The National Museum of Western Art, Tokyo
This painting is a great example of divisionism because the artist, Paul Signac, used dots of unblended color to create the scene of this busy port. I especially liked this painting because the diminutive size of the dots reveals the amount of time and effort that Signac put into the painting. I also like the colors used and the contrast between the top half of the painting and the bottom. It is clear that the sun is setting on this port but people are still hard at work. To me, this painting shows a change in times. The city is growing and people are forced to work longer hours. There is a beautiful sunset going on which means that it is getting late in the day and people are still laboring.
Evening, Honfleur, Georges-Pierre Seurat, 1886, From the collection of: MoMA The Museum of Modern Art
Grandcamp, Evening, Georges-Pierre Seurat, 1885, From the collection of: MoMA The Museum of Modern Art
Bank of the Seine, Vincent van Gogh, May 1887 - July 1887, From the collection of: Van Gogh Museum
The Schelde near Veere, Jan Toorop, 1907, From the collection of: Centraal Museum
Seascape, Mera, AOKI Shigeru, 1904, From the collection of: Artizon Museum, Ishibashi Foundation
Port-Goulphar, Belle-Île, Claude Monet, 1887, From the collection of: Art Gallery of New South Wales
This painting is also a great example of divisionism. As the viewer can see through zoom that, although the water and rocks seem to be painted traditionally, the painting is in fact comprised of individual specks of paint. I liked this one for several reasons. one is that Monet was not a known supporter of divisionism: in fact at times he flat out opposed the technique. I also chose the painting because I loved the colors he used to paint the sea. Often the ocean is painted more blue-grey than blue-green and i really like this different interpretation of the water. Finally I especially like this painting because it reminds me of scenes from one of my favorite movies "The Count of Monte Cristo". I think the jagged rocks and brightly colored sea are meant to show how wild and mysterious nature can be. No matter how advanced mankind becomes, we will never be able to tame places such as this.
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