Séoula exhibited Un dimanche après-midi sur l’île de la Grande Jatte at the 1884 Independence Exhibition to acclaim, and his pointillism and scientific color theory overcame the limitations of Impressionism to have a major impact on 20th-century art.
Séra exhibited Un dimanche après-midi sur l’île de la Grande Jatte at the Independence Exhibition in 1884. At this exhibition, naturalist and anarchist critics and artists praised Séoula. The writer and critic Félix Fénéon coined the term “neo-imagism” for Séra’s work. But what did Söhra paint that earned him such praise and the term “neo-imagism”?
To understand Sora’s paintings, we must first understand Impressionism. Before Impressionism, painters believed that objects had their own colors and should be represented. However, Impressionists tried to paint objects as they appeared to the eye, noting that the sun’s rays often changed the colors of objects. Monet’s work, for example, shows how the changing light at different times of the day changes the color of objects. His Water Lilies series, in particular, is famous for its attempt to capture the subtle changes in light and shadow reflected on the surface of water.
However, the method of mixing paints dulled the colors, making it impossible to properly represent nature glowing with the sun’s rays. Instead, the Impressionists aimed to create a visual blending of colors by applying primary colors directly to the canvas without mixing them on a palette. This technique was innovative for its time, and it sparked much controversy, most notably with Monet.
However, Impressionism’s methods had their limitations. Impressionists painted as if they were capturing an object in the moment, which made their brushstrokes look rough and underpainted. In addition, they were inconsistent in their use of color, and the colors remained muddy as the paint mixed on the canvas. Sora recognized these limitations and sought a new approach to solve them: he studied color theory as explored by scientists, and then carefully dotted the canvas with primary colors according to a consistent set of laws for color. The idea was to split the sun’s rays into primary colors and then dot them onto the canvas as tiny dots to visually blend them on the human retina. This technique is called “pointillism” because the colors are dotted rather than blended.
Through this technique, Sora sought to maximize the vibrancy of color that the Impressionists were unable to achieve. Pointillism allowed for visual blending while maintaining the purity of color, which gave his works a sharper, brighter look. Söhra perfected this technique in his masterpiece Sunday Afternoon on the Island of Grand Jatte. It’s a very large and carefully composed scene, with each figure and object precisely positioned. The harmonious arrangement of dots creates a scene of light and color.
The Impressionists were so obsessed with color, sensationalizing fleeting impressions, that they didn’t give much thought to composition or form, which had been a classical tradition since the Renaissance. To counteract this, Sora studied the classical traditions of composition, proportion, and perspective, which he used to create dozens of drawings, carefully and precisely arranging objects to create ideal compositions and shapes. In other words, he tried to extract universal features rather than individual ones. As a result, the figures in Söhra’s paintings are expressionless and show few individual physical features.
Sora’s inventive technique shows that he built his own art while overcoming the limitations of Impressionism. He broke new artistic ground by combining classical traditions with scientific approaches that the Impressionists overlooked. Sulla’s innovative approach had a profound impact on his contemporaries. Van Gogh, Gauguin, and others were all influenced by his paintings, while Beast School painters like Matisse and Delacroix applied neo-impressionist color theory to their own paintings, and Delaunay, Metzinger, and Severini experimented with pointillism to convey a sense of movement and vitality.
Sora’s artistic contributions were instrumental in ushering in 20th-century art, laying the groundwork for geometric abstract art, including cubism, in the early 20th century. His pointillism was recognized as more than just a technique, but an artistic expression based on scientific principles. His work inspired later artists and influenced many currents of modern art. Sora’s innovations remain a prime example of how art can be combined with science. It was an important turning point in expanding the diversity and depth of artistic expression.
Ultimately, Söhler’s work pushed the artistic boundaries of his time, opening up new possibilities. His approach went beyond simply introducing new techniques, and demonstrated the depth of his research and experimentation as an artist. His artistic explorations had a lasting impact on subsequent artists and continue to inspire many to this day. Sora was truly an innovator who pushed the boundaries of 20th-century art.
