Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Georges Seurat: The Bathers at Asnieres and A Sunday on La Grande Jatte
Class-conscious canvases from the artist who introduced scientific principles to painting
PERFECTLY POINTILLIST: (Left) The Bathers at Asnieres (1884) and (right) A Sunday on La Grande Jatte (1886)
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
GEORGES SEURAT’S iconic The Bathers at Asnieres (1884) and its “companion” canvas A Sunday on La Grande Jatte (1886) are probably among the best-known paintings by Impressionists.
But, unlike others, Seurat eschewed spontaneity for a meticulously scientific approach to colour and once memorably said: “Some say they see poetry in my paintings; I only see science.”
Early on, he had met and worked with chemist Michel-Eugene Chevreul, who had noticed that the perception of colour was not about the individual pigment but how the human brain processed adjoining colours.
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