Le Chahut
12:00 AM |
| Georges Seurat, Le Chahut, 1888-89 |
Le Chahut, by Georges Seurat, spotlights a group of burlesque, can-can dancers. The artist emphasizes the frail femininity of the female dancers by starkly outlining their slim forms and exaggerating their movements by using subtle blues to draw attention to the folded creases in their dresses. To compose his image, Seurat combines contemporary Parisian culture to heighten the aristocratic aura of Le Chahut. After thoroughly studying Charles Henry’s novel, Introduction to a Scientific Aesthetics, Seurat combines the author’s philosophical discussion of color and movement into his burlesque-themed painting. Henry contends that a painting’s upward movement heightens the happiness of its audience by literally "uplifting their sentiments."Similarly, he asserts that the transformation of cool to warm colors has a similar sentimental effect. Seurat highlights the poise of his dancers and the focus of light on his stage by arranging cool blues and downplayed yellows in a composed fashion throughout his piece. Seurat’s admiration of Degas, as emphasized by the audience’s perspective from behind the orchestra, also summarizes contemporary, high-class Parisian trends.
In response to Seurat’s rendition of Parisian culture, the painter received vehement curses from journalists who condemn the painting for its lack of religion and propriety. Modern day scholars revisit the piece and critique Seurat’s lack of grace in incorporating movement into his painting referring to the dancing as overbearing and escalating in gaudiness. Others see Seurat’s work as a stroke of genius, commending the neo-impressionist for reincorporating movement into impressionism.
In response to Seurat’s rendition of Parisian culture, the painter received vehement curses from journalists who condemn the painting for its lack of religion and propriety. Modern day scholars revisit the piece and critique Seurat’s lack of grace in incorporating movement into his painting referring to the dancing as overbearing and escalating in gaudiness. Others see Seurat’s work as a stroke of genius, commending the neo-impressionist for reincorporating movement into impressionism.
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