Georges Seurat - Models (Poseuses) - fine art print

The artpiece with the title "Models (Poseuses)" as your art replica

This masterpiece called Models (Poseuses) was painted by the French artist Georges Seurat. The version of the artwork measures the size: Overall: 78 3/4 x 98 3/8 in (200 x 249,9 cm). Oil on canvas was used by the European artist as the medium of the piece of art. Besides, this piece of art is part of the collection of Barnes Foundation. This public domain masterpiece is being provided with courtesy of Courtesy of the Barnes Foundation, Merion and Philadelphia, Pennsylvania.Creditline of the artwork: . In addition to that, the alignment is in landscape format and has an aspect ratio of 1.2 : 1, which means that the length is 20% longer than the width. Georges Seurat was a painter, drawer from France, whose art style was primarily Pointillism. The painter lived for 32 years - born in the year 1859 in Paris, Ile-de-France, France and died in 1891.

Your product material options

The product dropdown menu provides you with the opportunity to choose your individual material and size. The following options are available for individualization:

• Canvas print: The canvas print is a printed canvas mounted on a wooden stretcher. A printed canvas of your favorite work of art will allow you to transform your very own into a large size collection piece. Canvas prints are relatively low in weight, which means that it is easy to hang your Canvas print without the use of any wall-mounts. Canvas prints are suitable for any kind of wall.
• Printed acrylic glass: An print on acrylic glass, often labelled as a plexiglass print, will transform the original artwork into marvellous décor. Furthermore, the acrylic glass art print forms a viable alternative option to canvas and aluminidum dibond fine art replicas. The artwork will be made with the help of modern UV direct print technology. This has the effect of deep, vivid colors. The great benefit of a plexiglass fine art print is that contrasts as well as artwork details will be more exposed with the help of the precise tonal gradation in the print.
• Aluminium dibond print: An Aluminium Dibond print is a print with an impressive depth effect. The white and bright components of the artwork shimmer with a silky gloss but without the glow.
• Poster print (canvas material): Our poster print is a UV printed sheet of flat canvas with a slightly roughened structure on the surface, that reminds the actual artwork. Please keep in mind, that depending on the size of the canvas poster print we add a white margin of around 2-6cm round about the print, which facilitates the framing with a custom frame.

Important legal note: We do everything in order to describe the products with as many details as we can and to exhibit them visually in our shop. Nevertheless, the pigments of the print materials and the imprint may vary slightly from the presentation on the device's screen. Depending on your settings of your screen and the quality of the surface, colors can unfortunately not be printed one hundret percent realistically. Bearing in mind that the art prints are printed and processed manually, there may as well be minor discrepancies in the exact position and the size of the motif.

Product information

Structured information on the piece of art

Artist summary table

© Copyrighted by, Artprinta.com

General information by the museum (© Copyright - by Barnes Foundation - Barnes Foundation)

When Georges Seurat debuted Models at the Salon des Independants in 1888, he delivered a bold riposte to his critics, asserting that pointillism, his daring neo-impressionist painting technique, could be applied to one of the noblest and most revered subjects in the history of art: the nude. Two years earlier, at the eighth and final impressionist exhibition, he had presented A Sunday on La Grande Jatte—1884, 1884–86, a scene of middle-class leisure that served as a monumental declaration of his aesthetic principles. Informed by scientific theories of light, color, and optics, Seurat methodically juxtaposed individual touches of pure color on his canvas. According to the artist, these hues mixed with greater vibrancy in the eye of the beholder. However, some commentators suggested that this intricate lattice of brushstrokes was best suited to the representation of the landscape and atmospheric effects. Seurat's prominent citation of La Grande Jatte in this canvas explicitly announced the connection between the debate of 1886 and his latest "battle canvas" (toile de lutte), as he referred to his most provocative manifesto works. Accepting the challenge, Seurat simultaneously embraced and subverted art-historical tradition with Models. Although scaled to the dimensions of the great machines of history painting—mythological, historical, and religious subjects that occupied the pinnacle of the hierarchy of the genres—this work offers a commonplace of the annual salon: a genre scene of models disrobing, posing, and dressing in a corner of the artist's studio. While the narrative of Models remains elusive, these women are perhaps "auditioning" in the hopes of securing modeling work, a quick succession of commercial exchanges at odds with the elevating narratives of history painting. But the conceit of this parade of models permitted Seurat to demonstrate his own virtuosity with three views of the nude—from the front, side, and back—and the suitability of his technique to the subject. Seurat simultaneously and wittily positioned his models against La Grande Jatte at left on the studio wall, permitting a comparison of nude and clothed, interior and exterior, and demonstrating the process and artifice of picture-making.While subverting the hierarchy of the genres, Seurat included a wealth of references to classical, Renaissance, and 19th-century academic and avant-garde sources that would have been readily recognized by critics and sophisticated viewers. The three women collectively invoke the Three Graces of antiquity—as well as Raphael's depiction of the subject—but their physical separation from one another, their modern bodies, and their quiet introspection challenged traditional representations that depict three voluptuous figures linked in a graceful dance. Such an ironic borrowing evoked the example of Édouard Manet's Luncheon on the Grass (Le Dejeuner sur l'herbe), 1863 (Musée d'Orsay, Paris). While the figure at right recalls the antique Spinario, the model with her back to the viewer invites comparison to Bathing Woman, 1806, by Jean-Auguste-Dominique Ingres, an 1879 addition to the Musee du Louvre. With their fashionable clothes and accessories heaped at their feet, the models in their recognizable poses link past and present.Judith Dolkart, The Barnes Foundation: Masterworks (New York: Skira Rizzoli, 2012), 78-79.