It feels somewhat fitting to conclude our series of posts about paintings in Impressionism, Fashion, and Modernity with a painting that hangs in the final gallery of our exhibition—the Art Institute's own A Sunday on La Grande Jatte—1884.
For those of you who haven't had the chance to visit the exhibition, this painting is placed in context with three dresses (one pictured below for reference) that all highlight the apogee of the bustle. Bustles first appeared in Parisian fashion in the late 1860s and remained in style until the mid-1870s when the prevailing style moved towards a narrower, tighter fishtail shape. But in 1883, bustles returned with a vengeance. And this time around, 'the bigger, the better' was the name of the game. Bustles extended horizontally at nearly ninety-degree angles, creating a shelf-like shape.
Seurat began working on La Grande Jatte in 1884, just after the bustle returned to fashion. In the painting, he features two women with bustles, most prominently the woman on the far right standing with a male companion (and a monkey!). This woman's dress would have been right on trend. In addition to a voluminous bustle, she also wears a dress with a low waist, high neckline, and tight sleeves, all the more to accent her backside. When Seurat first conceptualized this painting, however, the bustle was significantly smaller. We've learned, through conservation research, that as the painting developed from preparatory drawings to the final work, Seurat increased the bustle's size not once, not twice, but three times, ensuring that this woman stay as on trend as possible. The bigger, the better indeed.
Georges Seurat. A Sunday on La Grande Jatte—1884, 1884-86. Helen Birch Bartlett Memorial Collection.
Dress, 1887. American. The Metropolitan Museum of Art, New York.
14 hours 23 min ago The Art Institute of Chicago Fullerton Hall
Free to Illinois residents or with museum admission
Brazilian artist and scholar Andreas Valentin recalls his time in New York City with artist Hélio Oiticica and screens a series of short films the two produced in collaboration.
*Museum admission is free for Illinois residents every Thursday, 5:00–8:00—including during this event.
14 hours 48 min ago The Art Institute of Chicago NOW ON VIEW—Rodney McMillian: a great society
a great society represents artist Rodney McMillian's work in video over the last decade. Grappling with the complexities of class, race, and place in America, McMillian employs elements of performance, public speaking, oral history—and his interest in the science fiction genre—to expose the social and psychological consequences of economic inequality, endemic racism, and the failed promise of freedom and prosperity for all of its citizens. While McMillian's work engages the often stark realities of history and contemporary culture, it is motivated by the potential for alternative realities and future transformation.
Closing March 26—http://bit.ly/2l5Ja6e
19 hours 30 min ago The Art Institute of Chicago CLOSING SOON—John Massey: Cartón de Venezuela
One of Chicago’s great design stories emerged from the Container Corporation of America (CCA) in the middle of the 20th century. Upon his appointment in 1964 as the CCA's head of design, Chicagoan John Massey formed a research arm, the Center for Advanced Research in Design (CARD), that enabled great creativity and innovation within a corporate structure.
This exhibition features a set of posters by Massey for the CCA’s subsidiary Cartón de Venezuela. Each poster represents a different month of the year, with strong, clean lines and bold colors reflecting one of Massey’s primary influences, the Swiss school of design.
Closing March 5—http://bit.ly/2lYlz6I