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A map of Paris and the surrounding area's terrain created by Calmelet Antoine.
On some of these maps, I have marked Aisnieres, Ile de La Grande Jatte, and the area where Seurat and Knobloch lived.
These are all works from the Plexus series of visual artist Gabriel Dawe. I found these while searching for ways one might paint with light. Dawe's work uses textiles (thousands of pieces of colored thread) and light to illuminate a spectrum of light.
These are various images by different people at different angles and differnt times of day of the Glory Window in Dallas, TX, designed by Philip Johnson. It is one of the largest horizontally-aligned stained glass pieces in the world. By laying the stained glass horizontally, Johnson catches more variance and sustained light than by laying it vertically. The outside of the chapel served as inspiration for our chromolume.
Artist Janak Narayan, who is inspired by natural landscapes and contemporaries of Seurat, such as Van Gogh.
UNABASHED by Janak Narayan. Notice the long lines of trees reaching skyward with the background of water.
Most often painting with light requires refraction (as is the nature of light and our perception of it), which is what happens inside the prism of a kaleidoscope.
There are 259 references to sight and seeing in the script, and the only way we perceive color is through the rods in our eyes. I began to think about the refraction of light as if our eyes were painting with light all on their own. Notice the depth of color and intricacy in the eye, even at both edges of the iris (towards the pupil and towards the white).
These are rainbow ships created by AI, and seeing as Seurat painted many boats, these were fascinating.
Flora by Arthur Bowen Davies
Charles Blanc's color wheel, which was influential in Divisionist theory
Seurat was known for drawing with conte crayon long before he was known for chromoluminarism. This is what he scketches with on his pad during the show. Immediately above is a profile portrait of Seurat's friend and fellow artist, Paul Signac. He perhaps partially served as visual inspiration for Jules. Below is a portrait of Seurat's mother, Ernestine Faivre, embroidering.
Many of Seurat's final chromoluminaristy paintings include borders, as he saw this as the ultimate contrast to frame and highlight the colors in the painting.
Here, side by side, we see the final study of La Grande Jatte and the finished painting. Notice the changes, such as missing parasols, hats, and other objects between the two.
An 1868 painting by Carl Bloch, In a Roman Osteria. The glare of the cat compared with the judgement of Spot and Fifi as well as the people at this table compared with the general commentary of various people in "The Day Off" show the vantage point of those who live within the painting perceiving the painter.
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