Seurat became increasingly intrigued by Gothic artwork and contemporary advertisements. His triumph catapulted him to the center of Paris’ avant-garde.
As a child, Seurat became interested in painting and was inspired by impromptu tuition from his uncle, Paul Haumonté, a fabric merchant and hobbyist artist.
The artist spent 1883 concentrating on his first big work, Bathers at Asnières (1884), a massive painting depicting youths resting by the Seine in a Parisian neighborhood.
Seurat's new views on pointillism had a particularly great impact on Signac, who later worked in the same manner. He started work on A Sunday on la Grande Jatte (1886), a mural-sized painting.
Seurat’s final important projects feature Paris nightlife and all have a similar subdued hue, which contrasts considerably with the exuberance of George Seurat’s paintings from an earlier era.
Seurat started working on The Circus (1891), which would not be completed. Seurat became unwell with a temperature on the 26th of March and perished three days later.
It is unclear if Seurat studied the entirety of Chevreul’s book on color contrast, which was released in 1859, but he did write out many sentences from the section on paint.
Seurat hypothesized that the scientific utilization of color was similar to any other natural rule, and he felt compelled to substantiate this hypothesis.
Seurat was capable of developing an esthetic philosophy with a new focused approach well matched to its presentation in his short years of activity, based on his findings on irradiation and the influences of contrast.
Seurat was propelled by a determination to renounce Impressionism’s fixation with the transient instance in favor of representing what he saw as the basic and unchangeable features of life.