Models (painting): Difference between revisions

Les Poseuses
Les Poseuses
The Three Models
Artist	Georges Seurat
Year	1886
Medium	oil paint, canvas
Movement	pointillism, post-impressionism
Dimensions	200 cm (79 in) × 249.9 cm (98.4 in)
Accession No.	BF811
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Models, also known as The Three Models and Les Poseuses, is a work by Georges Seurat, painted between 1886 and 1888 and held by the Barnes Foundation in Philadelphia. Models was exhibited at the fourth Salon des Indépendants in spring of 1888.^[1]

The piece, the third of Seurat's six major works, is a response to critics who deemed Seurat's technique inferior for being cold and unable to represent life.^[2] As a response, the artist offered a nude depiction of the same model in three different poses. In the left background is part of Seurat's 1884-1886 painting A Sunday Afternoon on the Island of La Grande Jatte.

Models is considered distinctive because of its pointillist technique and the political implications of its depiction of the nude female body.

Seurat's life

Georges-Pierre Seurat was the third child of Ernestine Faivre and Antoine-Chrysostome Seurat. He was born in Paris on 2 December 1859 into a bourgeois family. He entered in the École des Beaux-Arts in 1878. He then studied under Henri Lehman. He, along with artists such as Paul Signac, Albert Dubois-Pilllet, and Odilon Redon were responsible for the Salon des Indépendents, which they established as an alternative to the state-sponsored Salon exhibitions.^[3]

Seurat is best-known for A Sunday Afternoon on the Island of La Grande Jatte, 1884, which was displayed in 1886 at the final Impressionist exhibition and subsequently exhibited at the Salon des Indépendents. The painting is known to be the start of Neo-Impressionist movement. Seurat is also praised for his technique of pointillism which in an almost scientific manner breaks the paint surface into dots of color that blend together when seen from afar.

Pointillism and color theory

Models is a notable example of Pointillism, which refers to painting through a series of colored dots that together make up an image.^[4]

In an article written by Norma Broude in the Art Bulletin, she compares Pointillism to photo printing in the 1880s France. Though not the same, there are large similarities in the results given the preoccupation with color theory and the meticulously planning of paint application in pointillism.^[5] In his works, Seurat adopted the approach to replicate the luminosity and tones found in nature.^[6] Seurat's faith in color science, use of bright colors, and mechanical brush strokes are characteristic of Neo-Impressionism.^[7]

Les Poseuses

Seurat painted two versions of Les Poseuses. The smaller of the two is more in accord with the divisionism technique that Seurat had invented, and favoured by Seurat specialists. This version is on the cover of the catalogue for the 1991 Seurat exhibition at the Metropolitan Museum of Art.^[8] Though the painting once belonged to the merchant Heinz Berggruen,^[9] it went on to become part of the Paul Allen collection and then his estate.^[10]^[11] In 1947, at the sale of the collection of Félix Fénéon, an early advocate and promoter of Seurat, France acquired studies for the painting that now reside in the Musée d'Orsay.^[12]^[13]^[14] In November 2022, Christies auction house sold the painting as part of the Paul G. Allen collection auction for $149.2m (£131m), including fees.^[15]

Painted between 1886 and 1888, Les Poseuses was Seurat’s response to criticism of his painting A Sunday Afternoon on the Island of La Grande Jatte. Critics at the time had claimed that the painting did not depict figures with sufficient realism. Les Poseuses has sometimes been interpreted as a response to this criticism, and the inclusion of A Sunday Afternoon on the Island of La Grande Jatte in the composition serves to connect the works.^[16] The incorporation of the earlier canvas within the picture also serves to make clear that the models are seen in the setting of the studio.

Les Poseuses roughly translate as "the posers," and the typical English translation of the title as "Models" obscures some of its original meaning. The title establishes a contrast with the subject of the painting, in which models appear to be off duty, not in the process of posing. Seurat painted the figures without idealizing them. By showing the banal realities of their work as models, he heightens the sense of their realness.^[17] They are not models in the sense of muses, but they are women who are earning money. Scholars have suggested that this approach complicates the traditional way that women have been objectified in painting.^[18]

The large size of the painting also challenged long-standing art historical traditions. In academic painting, larger canvases were typically reserved for history paintings, which aimed to depict mythological, religious, or historical scenes and events. Genre paintings, which tended to represent scenes of daily life, were usually smaller in scale. Seurat enlarged a banal and casual scene to the dimensions of a history painting, thereby subverting the traditional hierarchy.^[19]

The women's poses may also allude to earlier and widely-recognized paintings, such as Édouard Manet's 1863 Luncheon on the Grass or Jean-Auguste-Dominique Ingres's 1808 The Valpinçon Bather.^[19]

Furthermore, the English art critic Waldemar Januszczak believes this painting breaks the fourth wall, offering a glimpse into the poser who is the original source of the women depicted in A Sunday Afternoon on the Island of La Grand Jatte. He also points out that the model used for Les Poseuses may also be the same one used for the largest figure in La Grande Jatte; and that the hat and clothing worn by the rightmost, seated woman in La Grande Jatte may also appear in Les Poseuses.^[18]

Gallery

Poseuse de dos
(study)
Poseuse debout, de face (study)
Study after "The Models", 1888
Poseuse de face
(study)
Poseuse de profil
(study)

References

^ Rewald 1943, p. 79.
^ Peter Russell (20 December 2019). Delphi Complete Paintings of Georges Seurat (Illustrated). Delphi Classics. pp. 118–. ISBN 978-1-913487-01-0.
^ Herbert, Robert L. (1991). Georges Seurat (1859-1891). New York: Metropolitan Museum of Art, New York. pp. 11–14, 375–382.
^ Chu, Petra ten-Dpesschate (2003). Nineteenth- Century European Art. Prentice Hall Inc. and Harry N. Abrams. pp. 400–401. ISBN 0-13-045736-1.
^ Broude, Norma (1974). "New Light on Seurat's "Dot": Its Relation to Photo-Mechanical Color Printing in France in the 1880's". The Art Bulletin. 56 (4): 581–589. doi:10.2307/3049304. ISSN 0004-3079. JSTOR 3049304.
^ IRESON, NANCY (2010). "The pointillist and the past: three English views of Seurat". The Burlington Magazine. 152 (1293): 799–803. ISSN 0007-6287. JSTOR 25769879.
^ Tate. "Neo-impressionism – Art Term". Tate. Retrieved 2020-11-24.
^ Herbert & Cachin 1991, p. cover, iv.
^ Cork, Richard (2003-01-01). Everything Seemed Possible: Art in the 1970s. Yale University Press. ISBN 978-0-300-09508-1.
^ Koldehoff, Stefan (2011-11-15). "Geld spielt hier keine Rolle". DIE WELT (in German). Retrieved 2018-11-01.
^ Allen, Paul G. (2012-10-25). "Objects of My Affection". WSJ. Retrieved 2018-11-01.
^ "Poseuse de dos". Musée d'Orsay (in French). 2009-02-16. Retrieved 2018-11-04.
^ "Poseuse de face". Musée d'Orsay (in French). 2009-02-16. Retrieved 2018-11-04.
^ "Poseuse de profil". Musée d'Orsay (in French). 2009-02-16. Retrieved 2018-11-04.
^ "Paul Allen: Record-breaking $1.5bn art sale for late Microsoft co-founder's collection". November 10, 2022 – via www.bbc.com.
^ Aichele, K. Porter (1989). "Seurat's "Les Poseuses" in the Context of French Realist Literature". Nineteenth-Century French Studies. 17 (3/4): 385–396. ISSN 0146-7891. JSTOR 23532466.
^ Nochlin, Linda (March 1994). Body Politics: Seurat's Poseuse. New York: Art in America. pp. 71–124.
^ ^a ^b Januszczak, Waldemar. "The Art Mysteries with". ZCZ Films. BBC.
^ ^a ^b "Barnes Collection Online — Georges Seurat: Models (Poseuses)". Barnes Collection Online — Georges Seurat: Models (Poseuses). Retrieved 2021-12-09.

Bibliography

Aichele, K. Porter (1989). "SEURAT'S "LES POSEUSES" IN THE CONTEXT OF FRENCH REALIST LITERATURE". Nineteenth-Century French Studies. 17(3/4): 385–396. ISSN 0146-7891.
Broude, Norma (1974). "New Light on Seurat's "Dot": Its Relation to Photo-Mechanical Color Printing in France in the 1880's". The Art Bulletin. 56 (4): 581–589 ISSN 0004-3079.
Distel, Anne (1992) [1991]. Seurat (in French). Paris: Ed. du Chêne. ISBN 9782851087119. OCLC 463717128, 935582389.
Dorra, Henri; Rewald, John (1959). Seurat : L'oeuvre peint, biographie et catalogue critique (in French). Les Beaux-Arts. OCLC 873288696.
Hauke, César M. de; Seurat, Georges (1962). Seurat et son oeuvre; [catalogue] (in French). Gründ. OCLC 1266200.
Herbert, Robert L.; Cachin, Françoise (1991). Georges Seurat, 1859-1891. New York, NY: Metropolitan Museum of Art : Distributed by Abrams. ISBN 9780870996184. OCLC 23870062.
Herbert, Robert (2001). Seurat : drawings and paintings. New Haven, CT: Yale University Press. ISBN 9780300071313. OCLC 45002103.
IRESON, NANCY (2010). "The pointillist and the past: three English views of Seurat". The Burlington Magazine. 152(1293): 799–803. ISSN 0007-6287.
Kostka, Alexandre (2000). "Two ladies vanishing : die "Poseuses" von Georges Seurat in der Sammlung Harry Graf Kessler; Kunsttransfer als Teilrezeption". In Fleckner, Uwe; Schieder, Martin; Zimmermann, Michael F (eds.). Jenseits der Grenzen. französische und deutsche Kunst vom Ancien Régime bis zur Gegenwart : Thomas W. Gaehtgens zum 60. Geburtstag 1 1 (in German). Köln: DuMont. ISBN 9783770153411. OCLC 886754027.
Madeleine-Perdrillat, Alain (1990). Seurat. Rizzoli. ISBN 9780847812868. OCLC 886215932.
Nochlin, Linda (March 1994). "Body politics : Seurat's "Poseuses" (PDF). Art in America (3). Art Media Holdings: 71–79. ISSN 0004-3214. OCLC 959051968.
Rewald, John (1943). "Georges Seurat". Translated by Abel, Lionel. New York: Wittenborn and Co. OCLC 561921719. Retrieved 2018-10-23.
Rich, Daniel Catton (1958), Seurat - paintings and drawings, Art Institute of Chicago, OCLC 313002001, Art Institute of Chicago, January 16 - March 7, 1958; the Museum of Modern Art, New York, March 24 - May 11, 1958
Tate. "Neo-impressionism – Art Term". Tate. Retrieved 2020-11-24.

External links

"Georges Seurat: Models (Poseuses)". Barnes Collection Online — Georges Seurat: Models (Poseuses). Retrieved 2018-11-01.
Butcher, David (2019-11-06). "The Art Mysteries with Waldemar Januszczak: Seurat's Les Poseuses". Radio Times. Retrieved 2020-03-24.

[FOOTNOTERewald194379-1] Rewald 1943, p. 79.

[Russell20192-2] Peter Russell (20 December 2019). Delphi Complete Paintings of Georges Seurat (Illustrated). Delphi Classics. pp. 118–. ISBN 978-1-913487-01-0.

[3] Herbert, Robert L. (1991). Georges Seurat (1859-1891). New York: Metropolitan Museum of Art, New York. pp. 11–14, 375–382.

[4] Chu, Petra ten-Dpesschate (2003). Nineteenth- Century European Art. Prentice Hall Inc. and Harry N. Abrams. pp. 400–401. ISBN 0-13-045736-1.

[5] Broude, Norma (1974). "New Light on Seurat's "Dot": Its Relation to Photo-Mechanical Color Printing in France in the 1880's". The Art Bulletin. 56 (4): 581–589. doi:10.2307/3049304. ISSN 0004-3079. JSTOR 3049304.

[6] IRESON, NANCY (2010). "The pointillist and the past: three English views of Seurat". The Burlington Magazine. 152 (1293): 799–803. ISSN 0007-6287. JSTOR 25769879.

[7] Tate. "Neo-impressionism – Art Term". Tate. Retrieved 2020-11-24.

[FOOTNOTEHerbertCachin1991cover,_iv-8] Herbert & Cachin 1991, p. cover, iv.

[9] Cork, Richard (2003-01-01). Everything Seemed Possible: Art in the 1970s. Yale University Press. ISBN 978-0-300-09508-1.

[Koldehoff_20112-10] Koldehoff, Stefan (2011-11-15). "Geld spielt hier keine Rolle". DIE WELT (in German). Retrieved 2018-11-01.

[Allen_20122-11] Allen, Paul G. (2012-10-25). "Objects of My Affection". WSJ. Retrieved 2018-11-01.

[Poseuse_de_dos2-12] "Poseuse de dos". Musée d'Orsay (in French). 2009-02-16. Retrieved 2018-11-04.

[Poseuse_de_face2-13] "Poseuse de face". Musée d'Orsay (in French). 2009-02-16. Retrieved 2018-11-04.

[Poseuse_de_profil2-14] "Poseuse de profil". Musée d'Orsay (in French). 2009-02-16. Retrieved 2018-11-04.

[15] "Paul Allen: Record-breaking $1.5bn art sale for late Microsoft co-founder's collection". November 10, 2022 – via www.bbc.com.

[16] Aichele, K. Porter (1989). "Seurat's "Les Poseuses" in the Context of French Realist Literature". Nineteenth-Century French Studies. 17 (3/4): 385–396. ISSN 0146-7891. JSTOR 23532466.

[17] Nochlin, Linda (March 1994). Body Politics: Seurat's Poseuse. New York: Art in America. pp. 71–124.

[Januszczak-18] Januszczak, Waldemar. "The Art Mysteries with". ZCZ Films. BBC.

[:0-19] "Barnes Collection Online — Georges Seurat: Models (Poseuses)". Barnes Collection Online — Georges Seurat: Models (Poseuses). Retrieved 2021-12-09.

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+{{Short description|Painting by Georges Seurat}}
 <!--The editor creating this article has elected to use Template:Infobox artwork/wikidata. Please discuss on the talk page before attempting to change this. Any attempt to devolve this infobox instance into something else without discussion will be interpreted as disruptive editing.-->
 {{Infobox artwork/wikidata|qid=Q3234845}}
+<!-- Copied from the sandbox. Did not delete any previous information, just added them to sections. -->
-'''''Models''''', also known as '''''The Three Models''''' and '''''Les Poseuses''''', is a painting by [[Georges Seurat]], painted between 1886 and 1888 and held by the [[Barnes Foundation]] in [[Philadelphia]]. ''Models'' was exhibited at the fourth [[Société des Artistes Indépendants#Early exhibitions|Salon des Indépendants]] in spring of 1888.{{sfn|Rewald|1943|p=79}}
+'''''Models''''', also known as '''''The Three Models''''' and '''''Les Poseuses''''', is a work by [[Georges Seurat]], painted between 1886 and 1888 and held by the [[Barnes Foundation]] in [[Philadelphia]]. ''Models'' was exhibited at the fourth [[Société des Artistes Indépendants#Early exhibitions|Salon des Indépendants]] in spring of 1888.{{sfn|Rewald|1943|p=79}}
-This painting, the third of Seurat's six major works, is a response to critics who criticized Seurat's technique for being cold and unable to represent life.<ref name="Russell2019">{{cite book|author=Peter Russell|title=Delphi Complete Paintings of Georges Seurat (Illustrated)|url=https://books.google.com/books?id=dtrFDwAAQBAJ&pg=PT118|date=20 December 2019|publisher=Delphi Classics|isbn=978-1-913487-01-0|pages=118–}}</ref> Thus, the artist offers a nude, the same model, in three different poses. In the left background is part of Seurat's 1884 to 1886 painting ''[[A Sunday Afternoon on the Island of La Grande Jatte]]''.
+The piece, the third of Seurat's six major works, is a response to critics who deemed Seurat's technique inferior for being cold and unable to represent life.<ref name="Russell20192">{{cite book|author=Peter Russell|url=https://books.google.com/books?id=dtrFDwAAQBAJ&pg=PT118|title=Delphi Complete Paintings of Georges Seurat (Illustrated)|date=20 December 2019|publisher=Delphi Classics|isbn=978-1-913487-01-0|pages=118–}}</ref> As a response, the artist offered a nude depiction of the same model in three different poses. In the left background is part of Seurat's 1884-1886 painting ''[[A Sunday Afternoon on the Island of La Grande Jatte]]''.
+''Models'' is considered distinctive because of its pointillist technique and the political implications of its depiction of the nude female body.
-There is a second version of this work, smaller in size, more in accord with the [[divisionism]] technique that Seurat had invented, and favoured by Seurat specialists. This version is on the cover of the catalogue for the 1991 Seurat exhibition at the [[Metropolitan Museum of Art]].{{sfn|Herbert|Cachin|1991|p=cover, iv}} The painting once belonged to the merchant [[Heinz Berggruen]] and is now part of the collection of the [[Paul Allen]] estate.<ref name="Koldehoff 2011">{{cite web |last=Koldehoff |first=Stefan |title=Geld spielt hier keine Rolle |website=DIE WELT |date=2011-11-15 |url=https://www.welt.de/print-wams/article140461/Geld-spielt-hier-keine-Rolle.html |language=de |access-date=2018-11-01}}</ref><ref name="Allen 2012">{{cite web |last=Allen |first=Paul G. |authorlink=Paul G. Allen |title=Objects of My Affection |website=WSJ |date=2012-10-25 |url=https://www.wsj.com/articles/SB10001424052970204425904578072641560902724 |access-date=2018-11-01}}</ref> In 1947, at the sale of the collection of [[Félix Fénéon]], an early advocate and promoter of Seurat, France acquired studies for the painting that now reside in the [[Musée d'Orsay]].<ref name="Poseuse de dos">{{cite web | title=Poseuse de dos | website=Musée d'Orsay | date=2009-02-16 | url=http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&nnumid=000537&cHash=2d34b919e9 | language=fr | access-date=2018-11-04}}</ref><ref name="Poseuse de face">{{cite web | title=Poseuse de face | website=Musée d'Orsay | date=2009-02-16 | url=http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&nnumid=000533&cHash=74a3451eba | language=fr | access-date=2018-11-04}}</ref><ref name="Poseuse de profil">{{cite web | title=Poseuse de profil | website=Musée d'Orsay | date=2009-02-16 | url=http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&nnumid=010876&cHash=2557b61300 | language=fr | access-date=2018-11-04}}</ref>
+== Seurat's life ==
-The English art critic [[Waldemar Januszczak|Waldermar Januszczak]] believes this painting breaks the fourth wall, offering a glimpse into the poser who are the original source of the women depicted in ''[[A Sunday Afternoon on the Island of La Grande Jatte|A Sunday Afternoon on the Island of La Grand Jatte]]''. He further juxtaposes this to [[Peter Paul Rubens|Peter Paul Rubens']] ''[[The Judgement of Paris (Rubens)|The Judgement of Paris]]'' by showing the reality behind a beautiful setting.{{Citation needed|date=June 2020}}
+Georges-Pierre Seurat was the third child of Ernestine Faivre and Antoine-Chrysostome Seurat. He was born in Paris on 2 December 1859 into a bourgeois family. He entered in the [[École des Beaux-Arts]] in 1878. He then studied under [[Henri Lehmann|Henri Lehman]]. He, along with artists such as [[Paul Signac]], [[Albert Dubois-Pillet|Albert Dubois-Pilllet]], and [[Odilon Redon]] were responsible for the [[Société des Artistes Indépendants|Salon des Indépendents]], which they established as an alternative to the state-sponsored Salon exhibitions.<ref>{{Cite book|last=Herbert|first=Robert L.|title=Georges Seurat (1859-1891)|publisher=Metropolitan Museum of Art, New York|year=1991|location=New York|pages=11–14, 375–382}}</ref>
+Seurat is best-known for ''[[A Sunday Afternoon on the Island of La Grande Jatte]]'', 1884, which was displayed in 1886 at the final Impressionist exhibition and subsequently exhibited at the Salon des Indépendents. The painting is known to be the start of [[Neo-Impressionism|Neo-Impressionist]] movement. Seurat is also praised for his technique of pointillism which in an almost scientific manner breaks the paint surface into dots of color that blend together when seen from afar. &nbsp;
-==Gallery==
-<gallery mode=packed heights=200px>
+== Pointillism and color theory ==
+''Models'' is a notable example of [[Pointillism]], which refers to painting through a series of colored dots that together make up an image.<ref>{{Cite book|last=Chu|first=Petra ten-Dpesschate|title=Nineteenth- Century European Art|publisher=Prentice Hall Inc. and Harry N. Abrams|year=2003|isbn=0-13-045736-1|pages=400–401}}</ref>
+In an article written by [[Norma Broude]] in the [[Art Bulletin]], she compares Pointillism to photo printing in the 1880s France. Though not the same, there are large similarities in the results given the preoccupation with color theory and the meticulously planning of paint application in pointillism.<ref>{{Cite journal|last=Broude|first=Norma|date=1974|title=New Light on Seurat's "Dot": Its Relation to Photo-Mechanical Color Printing in France in the 1880's|url=https://www.jstor.org/stable/3049304|journal=The Art Bulletin|volume=56|issue=4|pages=581–589|doi=10.2307/3049304|jstor=3049304|issn=0004-3079|url-access=subscription}}</ref> In his works, Seurat adopted the approach to replicate the luminosity and tones found in nature.<ref>{{Cite journal|last=IRESON|first=NANCY|date=2010|title=The pointillist and the past: three English views of Seurat|url=https://www.jstor.org/stable/25769879|journal=The Burlington Magazine|volume=152|issue=1293|pages=799–803|jstor=25769879|issn=0007-6287}}</ref> Seurat's faith in [[color science]], use of bright colors, and mechanical brush strokes are characteristic of Neo-Impressionism.<ref>{{Cite web|last=Tate|title=Neo-impressionism – Art Term|url=https://www.tate.org.uk/art/art-terms/n/neo-impressionism|access-date=2020-11-24|website=Tate|language=en-GB}}</ref>
+== ''Les Poseuses'' ==
+Seurat painted two versions of ''Les Poseuses.'' The smaller of the two is more in accord with the [[divisionism]] technique that Seurat had invented, and favoured by Seurat specialists. This version is on the cover of the catalogue for the 1991 Seurat exhibition at the [[Metropolitan Museum of Art]].{{sfn|Herbert|Cachin|1991|p=cover, iv}} Though the painting once belonged to the merchant [[Heinz Berggruen]],<ref>{{Cite book |last=Cork |first=Richard |url=https://books.google.com/books?id=wCHmEBAr__IC&dq=heinz+berggruen&pg=PA148 |title=Everything Seemed Possible: Art in the 1970s |date=2003-01-01 |publisher=Yale University Press |isbn=978-0-300-09508-1 |language=en}}</ref> it went on to become part of the  [[Paul Allen]] collection and then his estate.<ref name="Koldehoff 20112">{{cite news|last=Koldehoff|first=Stefan|date=2011-11-15|title=Geld spielt hier keine Rolle|url=https://www.welt.de/print-wams/article140461/Geld-spielt-hier-keine-Rolle.html|access-date=2018-11-01|website=DIE WELT|language=de}}</ref><ref name="Allen 20122">{{cite web|last=Allen|first=Paul G.|author-link=Paul G. Allen|date=2012-10-25|title=Objects of My Affection|url=https://www.wsj.com/articles/SB10001424052970204425904578072641560902724|access-date=2018-11-01|website=WSJ}}</ref> In 1947, at the sale of the collection of [[Félix Fénéon]], an early advocate and promoter of Seurat, France acquired studies for the painting that now reside in the [[Musée d'Orsay]].<ref name="Poseuse de dos2">{{cite web|date=2009-02-16|title=Poseuse de dos|url=http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&nnumid=000537&cHash=2d34b919e9|access-date=2018-11-04|website=Musée d'Orsay|language=fr}}</ref><ref name="Poseuse de face2">{{cite web|date=2009-02-16|title=Poseuse de face|url=http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&nnumid=000533&cHash=74a3451eba|access-date=2018-11-04|website=Musée d'Orsay|language=fr}}</ref><ref name="Poseuse de profil2">{{cite web|date=2009-02-16|title=Poseuse de profil|url=http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&nnumid=010876&cHash=2557b61300|access-date=2018-11-04|website=Musée d'Orsay|language=fr}}</ref> In November 2022, Christies auction house sold the painting as part of the Paul G. Allen collection auction for $149.2m (£131m), including fees.<ref>{{Cite news|url=https://www.bbc.com/news/entertainment-arts-63582013|title=Paul Allen: Record-breaking $1.5bn art sale for late Microsoft co-founder's collection|date=November 10, 2022|via=www.bbc.com}}</ref>
+Painted between 1886 and 1888, ''Les'' ''Poseuses'' was Seurat’s response to criticism of his painting ''[[A Sunday Afternoon on the Island of La Grande Jatte]]''. Critics at the time had claimed that the painting did not depict figures with sufficient realism. ''Les Poseuses'' has sometimes been interpreted as a response to this criticism, and the inclusion of ''[[A Sunday Afternoon on the Island of La Grande Jatte]]'' in the composition serves to connect the works.<ref>{{Cite journal|last=Aichele|first=K. Porter|title=Seurat's "Les Poseuses" in the Context of French Realist Literature|date=1989|url=https://www.jstor.org/stable/23532466|journal=Nineteenth-Century French Studies|volume=17|issue=3/4|pages=385–396|jstor=23532466|issn=0146-7891}}</ref> The incorporation of the earlier canvas within the picture also serves to make clear that the models are seen in the setting of the studio.
+''Les Poseuses'' roughly translate as "the posers," and the typical English translation of the title as "Models" obscures some of its original meaning. The title establishes a contrast with the subject of the painting, in which models appear to be off duty, not in the process of posing. Seurat painted the figures without idealizing them. By showing the banal realities of their work as models, he heightens the sense of their realness.<ref>{{Cite book|last=Nochlin|first=Linda|title=Body Politics: Seurat's Poseuse|publisher=Art in America|date=March 1994|location=New York|pages=71–124}}</ref> They are not models in the sense of muses, but they are women who are earning money. Scholars have suggested that this approach complicates the traditional way that women have been objectified in painting.<ref name=Januszczak>{{Cite web|last=Januszczak|first=Waldemar|title=The Art Mysteries with|url=https://www.bbc.co.uk/programmes/m000gp0h|website=ZCZ Films. BBC.}}</ref>
+The large size of the painting also challenged long-standing art historical traditions. In [[Academic art|academic painting]], larger canvases were typically reserved for [[history painting]]s, which aimed to depict mythological, religious, or historical scenes and events. [[Genre painting]]s, which tended to represent scenes of daily life, were usually smaller in scale. Seurat enlarged a banal and casual scene to the dimensions of a history painting, thereby subverting the traditional hierarchy.<ref name=":0">{{Cite web|title=Barnes Collection Online — Georges Seurat: Models (Poseuses)|url=https://collection.barnesfoundation.org/objects/6994/Models-(Poseuses)/|access-date=2021-12-09|website=Barnes Collection Online — Georges Seurat: Models (Poseuses)|language=en}}</ref>
+The women's poses may also allude to earlier and widely-recognized paintings, such as [[Édouard Manet]]'s 1863 ''[[Luncheon on the Grass]]'' or [[Jean-Auguste-Dominique Ingres]]'s 1808 ''[[The Valpinçon Bather]]''.<ref name=":0" />
+Furthermore, the English art critic [[Waldemar Januszczak]] believes this painting breaks the fourth wall, offering a glimpse into the poser who is the original source of the women depicted in ''[[A Sunday Afternoon on the Island of La Grande Jatte|A Sunday Afternoon on the Island of La Grand Jatte]]''. He also points out that the model used for ''Les Poseuses'' may also be the same one used for the largest figure in ''La Grande Jatte''; and that the hat and clothing worn by the rightmost, seated woman in ''La Grande Jatte'' may also appear in ''Les Poseuses''.<ref name=Januszczak/>
+== Gallery ==
+<gallery mode="packed" heights="200px">
 File:Seurat Modella di spalle.jpg|''Poseuse de dos''<br/>(study)
-File:Georges Seurat 058.jpg|''Poseuse debout, de face'' (study)
+File:Poseuse debout, de face, étude pour Les Poseuses (ca. 1887) Georges Seurat (Musée d'Orsay).jpg|''Poseuse debout, de face'' (study)
 File:Georges Seurat, Study after "The Models", 1888, NGA 74269.jpg|''Study after &quot;The Models&quot;'', 1888
@@ Line 19: / Line 44: @@
 File:Seurat Modella di profilo.jpg|''Poseuse de profil''<br/>(study)
 </gallery>
+==See also==
+*[[List of paintings by Georges Seurat]]
 ==References==
@@ Line 24: / Line 52: @@
 ==Bibliography==
-*{{cite book |last=Distel |first=Anne |title=Seurat |publication-place=Paris |publisher=Ed. du Chêne |year=1992 |orig-year=1991 |isbn=9782851087119 |id={{OCLC|463717128|935582389}} |language=fr |ref=harv}}
+* Aichele, K. Porter (1989). "SEURAT'S "LES POSEUSES" IN THE CONTEXT OF FRENCH REALIST LITERATURE". ''Nineteenth-Century French Studies''. '''17'''(3/4): 385–396. [[ISSN (identifier)|ISSN]]&nbsp;0146-7891.
-*{{cite book |last=Dorra |first=Henri |last2=Rewald |first2=John |title=Seurat : L'oeuvre peint, biographie et catalogue critique |publisher=Les Beaux-Arts |year=1959 |oclc=873288696 |language=fr |ref=harv}}
+* Broude, Norma (1974). "New Light on Seurat's "Dot": Its Relation to Photo-Mechanical Color Printing in France in the 1880's". ''The Art Bulletin''. '''56''' (4): 581–589 [[ISSN (identifier)|ISSN]]&nbsp;0004-3079.
-*{{cite book |last=Hauke |first=César M. de |last2=Seurat |first2=Georges |title=Seurat et son oeuvre; &#91;catalogue&#93; |publisher=Gründ |year=1962 |oclc=1266200 |language=fr |ref=harv}}
-*{{cite book |last=Herbert |first=Robert L. |first2=Françoise |last2=Cachin |title=Georges Seurat, 1859-1891 |publication-place=New York, NY |publisher=Metropolitan Museum of Art : Distributed by Abrams |year=1991 |isbn=9780870996184  |oclc=23870062 |url=https://books.google.com/books?id=GIC728g8ps8C&printsec=frontcover#v=onepage |ref=harv}}
+* {{cite book|last=Distel |first=Anne |title=Seurat |location=Paris |publisher=Ed. du Chêne |year=1992 |orig-year=1991 |isbn=9782851087119 |id={{OCLC|463717128|935582389}} |language=fr }}
-*{{cite book |last=Herbert |first=Robert |title=Seurat : drawings and paintings |publisher=Yale University Press |publication-place=New Haven, CT |year=2001 |isbn=9780300071313 |oclc=45002103 |ref=harv}}
+* {{cite book|last1=Dorra |first1=Henri |last2=Rewald |first2=John |title=Seurat : L'oeuvre peint, biographie et catalogue critique |publisher=Les Beaux-Arts |year=1959 |oclc=873288696 |language=fr }}
+* {{cite book|last1=Hauke |first1=César M. de |last2=Seurat |first2=Georges |title=Seurat et son oeuvre; &#91;catalogue&#93; |publisher=Gründ |year=1962 |oclc=1266200 |language=fr }}
-*{{cite book |last=Kostka |first=Alexandre |chapter=Two ladies vanishing : die "Poseuses" von Georges Seurat in der Sammlung Harry Graf Kessler ; Kunsttransfer als Teilrezeption |editor1-last=Fleckner |editor1-first=Uwe |editor2-last=Schieder |editor2-first=Martin |editor3-last=Zimmermann |editor3-first=Michael F |title=Jenseits der Grenzen. französische und deutsche Kunst vom Ancien Régime bis zur Gegenwart : [[Thomas W. Gaehtgens]] zum 60. Geburtstag 1 1  |publication-place=Köln |publisher=DuMont |year=2000 |isbn=9783770153411 |oclc=886754027 |language=de |ref=harv}}
-*{{cite book |last=Madeleine-Perdrillat |first=Alain |title=Seurat |publisher=Rizzoli |year=1990 |isbn=9780847812868 |oclc=886215932 |ref=harv}}
+* {{cite book|last1=Herbert |first1=Robert L. |first2=Françoise |last2=Cachin |title=Georges Seurat, 1859-1891 |location=New York, NY |publisher=Metropolitan Museum of Art : Distributed by Abrams |year=1991 |isbn=9780870996184  |oclc=23870062 |url=https://books.google.com/books?id=GIC728g8ps8C }}
-*{{cite journal |last=Nochlin |first=Linda |title=Body politics : Seurat's "Poseuses |journal=Art in America |publisher=Art Media Holdings |issue=3 |date=March 1994 |pages=71–79 |oclc=959051968 |issn=0004-3214 |ref=harv |url=https://msu.edu/course/ha/446/nochlinseurat.pdf}}
+* {{cite book|last=Herbert |first=Robert |title=Seurat : drawings and paintings |publisher=Yale University Press |location=New Haven, CT |year=2001 |isbn=9780300071313 |oclc=45002103 }}
+* IRESON, NANCY (2010). "The pointillist and the past: three English views of Seurat". ''The Burlington Magazine''. '''152'''(1293): 799–803. [[ISSN (identifier)|ISSN]]&nbsp;0007-6287.
-*{{cite web |last=Rewald |first=John |authorlink=John Rewald |translator-last=Abel |translator-first=Lionel |translator-link=Lionel Abel |title=Georges Seurat |publication-place=New York |publisher=Wittenborn and Co. |year=1943 |oclc=561921719 |url=https://archive.org/details/georges00rewa |ref=harv |access-date=2018-10-23}}
+* {{cite book|last=Kostka |first=Alexandre |chapter=Two ladies vanishing : die "Poseuses" von Georges Seurat in der Sammlung Harry Graf Kessler; Kunsttransfer als Teilrezeption |editor1-last=Fleckner |editor1-first=Uwe |editor2-last=Schieder |editor2-first=Martin |editor3-last=Zimmermann |editor3-first=Michael F |title=Jenseits der Grenzen. französische und deutsche Kunst vom Ancien Régime bis zur Gegenwart : [[Thomas W. Gaehtgens]] zum 60. Geburtstag 1 1  |location=Köln |publisher=DuMont |year=2000 |isbn=9783770153411 |oclc=886754027 |language=de }}
-*{{cite |last=Rich |first=Daniel Catton |title=Seurat - paintings and drawings |quote=Art Institute of Chicago, January 16 - March 7, 1958 ; the Museum of Modern Art, New York, March 24 - May 11, 1958 |publisher=Art Institute of Chicago |year=1958 |oclc=313002001 |ref=harv}}
+* {{cite book|last=Madeleine-Perdrillat |first=Alain |title=Seurat |publisher=Rizzoli |year=1990 |isbn=9780847812868 |oclc=886215932 }}
+* {{cite journal|last=Nochlin|first=Linda|date=March 1994|title=Body politics : Seurat's "Poseuses|url=https://msu.edu/course/ha/446/nochlinseurat.pdf|journal=Art in America|publisher=Art Media Holdings|issue=3|pages=71–79|issn=0004-3214|oclc=959051968}}
+* {{cite web|last=Rewald |first=John |author-link=John Rewald |translator-last=Abel |translator-first=Lionel |translator-link=Lionel Abel |title=Georges Seurat |location=New York |publisher=Wittenborn and Co. |year=1943 |oclc=561921719 |url=https://archive.org/details/georges00rewa |access-date=2018-10-23}}
+* {{citation|last=Rich |first=Daniel Catton |title=Seurat - paintings and drawings |quote=Art Institute of Chicago, January 16 - March 7, 1958; the Museum of Modern Art, New York, March 24 - May 11, 1958 |publisher=Art Institute of Chicago |year=1958 |oclc=313002001 }}
+* Tate. "Neo-impressionism – Art Term". ''Tate''. Retrieved 2020-11-24.
 ==External links==
@@ Line 47: / Line 80: @@
 [[Category:Post-impressionist paintings]]
 [[Category:Paintings by Georges Seurat]]
+[[Category:Dogs in art]]
+[[Category:Paintings of women]]

v t e Georges Seurat
Paintings	List of paintings Bathers at Asnières (1884) A Sunday Afternoon on the Island of La Grande Jatte (1884–1886) Models (1884–1886) Parade de cirque (1887–1888) Young Woman Powdering Herself (1889–1890) Le Chahut (1889–1890) The Channel of Gravelines, Petit Fort Philippe (1890) The Circus (1890–1891)
Related	Société des Artistes Indépendants Divisionism Pointillism Neo-Impressionism Sunday in the Park with George (1984 musical) Topiary Park