Brief Report

As in another work by Georges Seurat in the Wallraf collection from his series of small-scale study panels [cf. Georges Seurat, WRM Dep. 822], we see here the use of an unprimed poplar panel in the standard P2 format (figs 2, 3, 4). As the panel has been left unpainted in many places, its own coloration contributes to the total impression (figs. 2, 3). The panel is one of the sort that were offered for sale by the dozen, for example in the catalogue of the art-supply dealer Bourgeois Ainé in 1888 for various models of painting cases [Bourgeois Ainé 1888, pp. 92f]. This picture too presents further clues to its having been created in such a painting box, which was a utensil of open-air painting: verso numerous remains of paint can be seen predominantly in the top left-hand corner, which are possibly due to contact with surplus material inside such a painting case (fig. 2). Recto traces of paint in the top left-hand corner and a graze on the right-hand edge of the picture suggest a fastening within such a box (fig. 6). It is probable that the work was completed in a single session, as evidenced by the wet-in-wet paint applications, though some brushstrokes were applied half dry, thinly but using highly viscous paint. The paint is loosely applied throughout, often with one stroke crossing over another (fig. 7). The visibility of so much of the surface of the panel was evidently felt to be a problem at an early date, as stereomicroscopy and UV fluorescence reveal additions by someone other than the artist in several places: thus the largely unpainted areas along the path as well as the outlines of the figure have been painted over (figs 11, 12). The coloration of these additions differs from that of the original painting, and furthermore they were applied on top of a non-authentic varnish, causing them to appear matt. Comparison with a historic illustration shows that these alterations must date back to before 1936 [Hauke 1961]. A reddish-brown used for the overpainting has been identified beyond doubt as cadmium red, which gives us a terminus post quem of 1910, when this new red pigment first appeared on the market.

Georges Seurat
Form in a Landscape near Barbizon, c. 1882, oil on poplar, 15.5 x 24.8 cm, WRM Dep. FC 705

Georges Seurat

born on 2 December 1859 in Paris,
died on 29 March 1891 ibidem

Brief report with complete data as downloadable pdf-file

Further illustrations:

Fig. 02

Verso


Fig. 03

Reflected light, wood structure of the panel is revealed through the thin paint application


Fig. 04

Raking light


Fig. 05

Detail, a knot in the wood cropped by the lower edge of the panel (right), traces of the green paint of the original limit of the paint, and a hole probably due to a fastening during the painting process


Fig. 06

Signs of handling that may point to the painting's having been executed in a paintingcase: traces of paint in the top left-hand corner (left) and a graze on the right-hand edge of the picture, which points to a possible fastening in such a case, microscopic photographs (M = 1 mm)


Fig. 07

Crosswise applications of paint, wet-in-wet, microscopic photograph (M = 1 mm)


Fig. 08

Brushwork in the region of the sky, applications of drying paint clearly reveal the brushstrokes, microscopic photograph (M = 1 mm) in slightly raking light


Fig. 09

Coarse pigmentation in the green paint applications, microscopic photograph (M = 1 mm) in raking light


Fig. 10

Pigmentation of the blue garment of the figure, microscopic photograph (M = 1 mm)


Fig. 11

Detail, additions in blue-green paint along the path by someone other than the artist, microscopic photograph (top right, M = 1 mm)


Fig. 12

Detail under UV fluorescence: palely fluorescing paint applications above the figure's head are likewise later additions