Chevreul therefore carried out experiments juxtaposing a variety of different colours and hues and using these observations he came to a number of conclusions regarding the perception of colour, the most important of which was the concept of ’Simultaneous Contrast’ describing the fact that:
It seems that they perceived colours differently during the weaving process (when they would be using different coloured yarns in close proximity) than when they saw the same colours in isolation. During his tenure he grappled with the problem that weavers were experiencing with matching colours. Blanc’s ideas were to some extent based on work already done by Michel-Eugène Chevreul who in 1824 was appointed director of the dye works at the Gobelins (the royal tapestry factory). This would also have the effect of making the canvas shimmer. In other words, if two small strokes or dabs of colour are placed in direct proximity on the canvas then the light emanating from those two dabs will mix in the eye. “ Some say they see poetry in my paintings, I see only science” - Seuratīy the late 1870’s Georges Seurat had read Grammaire des arts du dessin (1867) by Charles Blanc in which Blanc describes the process he called ‘optical mixture’ which, he said, would produce ‘more pure and vibrant colour… than would be formed by the traditional combining of pigments on the palette’.
Camille Pissarro described the new style as ‘Scientific’ Impressionism as opposed to ‘Romantic’ Impressionism. Seurat preferred Divisionism or the rather clumsy term Chromo-luminarism. Depending on how the artist applied the paint, this method came to be described as Pointillism, if the paint was applied as precise dots, or Divisionism if small strokes were used. Its exponents believed that this gave the surface of the picture greater vibrancy – rather than the artist mixing pigments on the palette the eye of the beholder reacted in a similar way to the minute arrangements of pure colour.Īs Paul Signac wrote ‘the separated elements will be reconstituted into brilliantly coloured lights’. In pursuit of these theoretical objectives, Georges Seurat and Paul Signac developed meticulous methods of paint application whereby juxtaposed strokes or dabs of pure colour, fused and mixed in the viewer’s eye.
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