Georges Seurat (1859-1891)
Georges Seurat (1859-1891)

Debout, en châle

Georges Seurat (1859-1891)
Debout, en châle
black Conté crayon on paper
7 x 4 3/8 in. (17.8 x 11.1 cm.)
Drawn circa 1881
Félix Fénéon, Paris (by 1926); sale, Hôtel Drouot, Paris, 30 April 1947, lot 72.
Anon. sale, Christie's, New York, 10 November 1994, lot 131.
Acquired at the above sale by the present owner.
Bernheim-Jeune, ed., Les Dessins de Georges Seurat, Paris, 1928, vol. I, no. 16B (illustrated, pl. 16).
C.M. de Hauke, Seurat et son oeuvre, Paris, 1961, vol. II, p. 62, no. 428 (illustrated, p. 63).
G. Kahn, The Drawings of Georges Seurat, New York, 1971, no. 20
M. Zimmermann, Les mondes de Seurat, son oeuvre et le débat
artistique de son temps
, Paris, 1991, p. 327, no. 238 (illustrated).
Paris, Galerie Bernheim-Jeune, Rétrospective Georges Seurat, December 1908-January 1909, no. 105b.
Paris, Galerie Bernheim-Jeune, Les dessins de Georges Seurat, November-December 1926, no. 19.
Paris, Galerie Paul Rosenberg, Exposition Seurat, February 1936, no. 70 (dated 1881-1884).

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David Kleiweg de Zwaan
David Kleiweg de Zwaan

Lot Essay

This drawing is one of forty from a sketchbook which marks the
transition of Seurat's drawing technique from its linear beginnings to the mature, characteristic style of the 1880s: "That Seurat began to evoke form almost without the aid of contour gave his technique a new immediacy in terms of both handling and structuring of the picture plane. From then on, his procedure functioned on two levels, which, though intimately related, required the spectator to focus his eyes, so to speak, at two different depths: first, on the surface of the drawing itself, the actual graphic rendering consisting of a highly differentiated superimposition, interpenetration, and nuancing of flat passages "woven through" with strokes; and second, on the deeper level of the subject, which was only suggested instead of clearly defined, and thus existed in a separate realm from the marks and traces, in the realm of the Other. The subject was therefore an illusion simultaneously offered to and withdrawn from the spectator, appealing to his imagination while receding from its final grasp" (E. Franz and B. Grave, Georges Seurat Drawings, New York, 1984, p. 46).

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