メトロポリタン美術館さんのインスタグラム写真 - (メトロポリタン美術館Instagram)「As part of our #MetAccess program, every month we invite Disabled and Deaf artists to respond to works in The Met collection that spark curiosity or inspiration. ⁣⁣ ⁣⁣ Today, artist John Bramblitt reflects on Georges Seurat's "Circus Sideshow (Parade de cirque)":⁣ ⁣ ⁣ "Up close to this painting you see nothing but chaotic brush strokes; I love this because often in life we feel cast into chaos as well. Seurat makes incredible use of broken color, a technique that allows the artist to draw attention to and accentuate one thing or diminish its impact by changing nothing but your perspective. ⁣ ⁣ In life it is so easy to focus on any one event and let that drag you down, but with broken color no single event or color ever dominates. As you pull away from the painting, you can see that the chaos is made to work together and a bigger picture begins to form."⁣ ⁣ 🎨 Georges Seurat (French, 1859–1891). Circus Sideshow (Parade de cirque), 1887–88. Oil on canvas.」12月4日 7時58分 - metmuseum

メトロポリタン美術館のインスタグラム(metmuseum) - 12月4日 07時58分


As part of our #MetAccess program, every month we invite Disabled and Deaf artists to respond to works in The Met collection that spark curiosity or inspiration. ⁣⁣
⁣⁣
Today, artist John Bramblitt reflects on Georges Seurat's "Circus Sideshow (Parade de cirque)":⁣ ⁣

"Up close to this painting you see nothing but chaotic brush strokes; I love this because often in life we feel cast into chaos as well. Seurat makes incredible use of broken color, a technique that allows the artist to draw attention to and accentuate one thing or diminish its impact by changing nothing but your perspective. ⁣

In life it is so easy to focus on any one event and let that drag you down, but with broken color no single event or color ever dominates. As you pull away from the painting, you can see that the chaos is made to work together and a bigger picture begins to form."⁣

🎨 Georges Seurat (French, 1859–1891). Circus Sideshow (Parade de cirque), 1887–88. Oil on canvas.


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