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5 cm Harvard Art Museums, Cambridge 34 35 This permanent tension arising from a spirit concerned with adhering to precise visions, or with favouring new concepts, gave Seurat a seriousness from which he rarely departed. He could always be found at his easel in his modest studio in Montmartre. C 36 37 floorboards to demonstrate the benefits of a theory based on the expressive power of certain angles and certain volumes in large figures with chalk. Even when visiting his friends, in conversation, which he never joined for long, he let little distract him from these obsessions.

Through these measures, colour can reach its maximum saturation, by which powerful values are reached. 8 cm The Metropolitan Museum of Art, New York 56 57 (also known as Divisionism). It is built around the idea of complimentary colours (red-green, orange-blue, yellow-purple), distinction between shade and tone (colour and value), the idea of optical mixing not only on the palette but also in the viewerÊs retina, and exalting colour by the juxtaposition of different tones of the same shade. Fort Hall c.

2 x 41 cm Musée d’Art moderne, Troyes 46 47 (1884), following with A Sunday on La Grande Jatte (1886), Circus Sideshow (1889), Le Chahut (1889-1890), and finally The Circus (1891). 1 cm Lillie P. Bliss Collection, The Metropolitan Museum of Art, New York 48 49 work entitled De Delacroix au Néo-impressionnisme which explained his aesthetic thoughts). 2 cm Solomon R. Guggenheim Museum, New York 50 51 ignored the Impressionists. Rather, he was persuaded of the necessity to reject formal education, and to liberate the elements of a new theory in the example of Eugène Delacroix and scientific writings on colour.