Seurat spent the summer of 1886 in the French coastal town of Honfleur in order to “wash the light of the studio” from his eyes, he said. He meticulously applied at least twenty-five colors here, in the form of thousands of dots carefully placed on the canvas. Long bands of clouds echo the horizon and the breakwaters on the beach. The vast sky and tranquil sea meet at the horizon line, bringing a sense of spacious light to the picture; yet from up close they also have a peculiar visual density. Seurat added the wooden frame later, hand-painting it with the same technique to add greater luminosity and suggest the extension of the image past its boundaries.
Gallery label from 2011.
Seurat spent the summer of 1886 in the resort town of Honfleur, on the northern French coast, a region of turbulent seas and rugged shorelines to which artists had long been attracted. But Seurat's evening scene is hushed and still. Vast sky and tranquil sea bring a sense of spacious light to the picture, yet also have a peculiar visual density. Long lines of cloud echo the breakwaters on the beach—signs of human life and order. Seurat had used his readings of optical theory to develop a systematic technique, known as pointillism, that involved the creation of form out of small dots of pure color. In the viewer's eye, these dots can both coalesce into shapes and remain separate particles, generating a magical shimmer. A contemporary critic described the light in Evening, Honfleur and related works as a "gray dust," as if the transparency of the sky were filled with, or even constituted by, barely visible matter—a sensitive response to the paint's movement between illusion and material substance, as the dots both merge to describe the scene and break into grains of pigment. Seurat paints a frame around the scene—buffering a transition between the world of the painting and reality; and, at the upper right, the dots on the frame grow lighter, lengthening the rays of the setting sun.
Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 36.