The document provides details on several paintings by Georges Seurat, including Circus Sideshow from 1887-88, Le Chahut from 1889-90, and The Circus from 1891. It describes when and where the paintings were created, their dimensions, and current locations in museums. It also provides context on Seurat's interest in depicting urban entertainment and development of pointillism technique, as well as influences from Impressionism and Degas.

2. SEURAT, Georges
Featured Paintings in Detail
(2)

3. SEURAT, Georges
Circus Sideshow
1887-88
Oil on canvas, 100 x 150 cm
Metropolitan Museum of Art, New York

4. SEURAT, Georges
Circus Sideshow (detail)
1887-88
Oil on canvas, 100 x 150 cm
Metropolitan Museum of Art, New York

5. SEURAT, Georges
Circus Sideshow (detail)
1887-88
Oil on canvas, 100 x 150 cm
Metropolitan Museum of Art, New York

6. SEURAT, Georges
Circus Sideshow (detail)
1887-88
Oil on canvas, 100 x 150 cm
Metropolitan Museum of Art, New York

7. SEURAT, Georges
Circus Sideshow (detail)
1887-88
Oil on canvas, 100 x 150 cm
Metropolitan Museum of Art, New York

8. SEURAT, Georges
Circus Sideshow (detail)
1887-88
Oil on canvas, 100 x 150 cm
Metropolitan Museum of Art, New York

10. SEURAT, Georges
Le Chahut
1889-90
Oil on canvas, 172 x 141 cm
Rijksmuseum Kröller-Müller, Otterlo

11. SEURAT, Georges
Le Chahut (detail)
1889-90
Oil on canvas, 172 x 141 cm
Rijksmuseum Kröller-Müller, Otterlo

12. SEURAT, Georges
Le Chahut (detail)
1889-90
Oil on canvas, 172 x 141 cm
Rijksmuseum Kröller-Müller, Otterlo

13. SEURAT, Georges
Le Chahut (detail)
1889-90
Oil on canvas, 172 x 141 cm
Rijksmuseum Kröller-Müller, Otterlo

14. SEURAT, Georges
Le Chahut (detail)
1889-90
Oil on canvas, 172 x 141 cm
Rijksmuseum Kröller-Müller, Otterlo

15. SEURAT, Georges
Le Chahut (detail)
1889-90
Oil on canvas, 172 x 141 cm
Rijksmuseum Kröller-Müller, Otterlo

17. SEURAT, Georges
The Circus
1891
Oil on canvas, 180 x 148 cm
Musée d'Orsay, Paris

18. SEURAT, Georges
The Circus (detail)
1891
Oil on canvas, 180 x 148 cm
Musée d'Orsay, Paris

19. SEURAT, Georges
The Circus (detail)
1891
Oil on canvas, 180 x 148 cm
Musée d'Orsay, Paris

20. SEURAT, Georges
The Circus (detail)
1891
Oil on canvas, 180 x 148 cm
Musée d'Orsay, Paris

21. cast SEURAT, Georges, Featured Paintings in Detail
(2)
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22. SEURAT, Georges
The Circus
Although this painting was still not completed at the painter's early death in 1891, Seurat had already exhibited it that year in the
Salon des Indépendents. It was intended to bring home clearly the principles of his art that he had developed in the previous ten
years and at the same time to emphasize his leading role in modern painting.
The circus was that of the Cirque Fernando, not far from Seurat's studio. To clarify his depiction Seurat left most of the seats
empty behind the artiste riding into the arena The work has something of the quality of a poster.
The Cirque Fernando had its pitch on the Boulevard Rochechouart. In 1894 it was redesigned as a theatre. Included among its
regular guests were Lautrec, and also Degas, Renoir and Seurat, who decorated the rooms with their paintings.

23. SEURAT, Georges
Circus Sideshow
In the mid-1880 the depiction of suburban pleasures favoured by the Impressionists gave way to pictures of urban entertainment, as
writers, poets, and songwriters turned to acrobats, clowns, and café singers for subject matter. Seurat's interest in urban
entertainment culminated in Circus Sideshow. The scene is a sideshow given in the evening on the street to lure passersby into
purchasing tickets to the circus. But instead of being gay and festive, the performance is calm and brooding. Using a fine brush, Seurat
has covered the canvas with a myriad of dark violet-blue, orange, and green dots of paint. Although his research in optics was
purportedly scientific, the forms are endowed with mystery. Figures seem to levitate in the moody gaslight, musicians and performers
are eerily geometric and alienated from the audience, and railings suggest ramps that lead nowhere. In this world where nothing is
certain to the eye, Seurat implies a parity between fact and fantasy.
Circus Sideshow represents the first important painting Seurat devoted to a scene of popular entertainment. In effect, it sets the
stage for his last great figure compositions, La Chahut of 1889–90 (Kröller-Müller Museum, Otterlo) and Circus of 1890–91 (Musée
d'Orsay, Paris).

24. SEURAT, Georges
Le Chahut
In 1887-90 Seurat was working on the Circus Parade, Le Chahut and the not quite finished Circus. It was a Degas world. The effects
of stage lighting, overlapping and cropped foreground figures, and a certain malice in the grotesque way types of people or posture
are presented, are related to Degas.
However, the differences are greater: a sense of ceremony accompanied by distortions and grimaces, motion arrested in
mechanical parallel attitudes, a strict patterning of spaces, and an emphatically enigmatic flavour despite the seemingly
straightforward attention-getting.

25. SEURAT, Georges
Georges-Pierre Seurat ( 2 December 1859 – 29 March 1891) was a French post-Impressionist
painter and draftsman.
He is noted for his innovative use of drawing media and for devising the painting techniques
known as chromoluminarism and pointillism. Seurat's artistic personality was compounded
of qualities which are usually supposed to be opposed and incompatible: on the one hand,
his extreme and delicate sensibility; on the other, a passion for logical abstraction and an
almost mathematical precision of mind.
His large-scale work, A Sunday Afternoon on the Island of La Grande Jatte (1884–1886),
altered the direction of modern art by initiating Neo-impressionism, and is one of the icons of
late 19th-century painting.