MATTHEW HAWKINS applauds a psychotherapist’s disection of William Blake
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)
New releases from Christina Alden and Alex Patterson, Odette Michell, Clementine Lovell
JOHN GREEN is fascinated by a very readable account of Britain’s involvement in South America
Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
RON JACOBS welcomes a timely homage to one of the IWW and CPUSA’s most effective orators
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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Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet
New releases from Hannah Rose Platt, Kemp Harris, and Spear Of Destiny
MICHAL BONCZA recommends a compact volume that charts the art of propagating ideas across the 20th century
