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Georges Seurat, du pointillisme à la télévision

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Georges Seurat, Pointillism to Television Georges Seurat, "Port-en-Bessin, airport, high marina" 1888 In this painting, Georges Seurat systimizes the procedure used to years previously in Honfleur He super imposes the little dots of color in the middle of larger strokes If we zoom in on the canvas, we realize that the colored surface is made up of multiple dots. Georges Seurat thus searches for a way to escape the principles of subtractive color In subtractive synthesis, each dot of paint takes away a certain amount of luminosity from the white canvas We realize that the colors the most clear are the cyan, the yellow and the magenta. These are the primary colors. If we mix the cyan and the magenta, we will have blue. The blue is darker than the cyan. If we mix the yellow and the cyan, we will have green. If we mix the yellow and the magenta, we will have red. The green, the blue and the rouge, are thus the secondary colors. Finally, if we combine the cyan, yellow and the magenta, we will have the darkest color, a grey very dark. The subtractive synthesis concerns the combination of all the colors, exploiting the lighting of a support. The problem resides in the loss of an intense of mixed colors. Seurat thus tries not to mix the colors. But to juxtapose them with the contrasting tons and dyes. If you paint two gray forms on one white background, and one black, the appearance will change. The grey form on the white background will appear darker, and the form on the black background will appear lighter. This rule is also valid with color. The blue will appear lighter on the black background, and lighter on the white background. In regard to color contrast, if we choose a cyan circle on a background green, the cyan appear pinker; On a blue background more yellow; on a red background, it will appear more intense. This is explained because for a given color, our eye demands a complimentary color. If this color is not there, our eye produces it itself. The eye will then tempt the red, the color proximal to cyan, and the cyan the color proximal to the red. It is the maximum contrast. For the magenta, the complimentary color will be green. For the yellow, the complimentary color will be blue. Here we have the maximum contrast for each color. If we show again the subtractive color model, we note that the complimentary colors are opposites. If the painter mixes these colors, he dulls their intensity and obtains a dark grey If he put them together, he creates a maximum contrast and strengthens their intensity. Moreover, from the two dots of different colors, the eye operates on what is called an optical combination. That is to say that these two distinct colors are perceived simultaneously as a combination, a fusion of one new color. This principle is used here by Georges Seurat. In place of using a violet mixed on a palette, he applies to the canvas dots of magenta, blue and red in a way that the colors mix by simple perception, thus the term "optical mixing." This discovery was often used in the process of mechanical reproduction The colored surfaces are composed of little dots or by frames of separated colors. Three primary colors, plus black. When the image is viewed from a certain distance, the dots of color cannot be distinguished, and they blend optically together We can thus discuss pointillism. Isaac Newton conducted several experiments, with the help of a prism, observing the composition of a white light. At the exit point of the prism, he observed that the light extends in a multitude of colors that produce a rainbow. After these experiments, we realized that our eye is made up of cells sensitive to three colors. Red, green and blue. So, if we project onto a white screen three colors: red, blue and green and superimpose them, we create an additive synthesis. The red and green make yellow; the red and blue make magenta; the blue and green make cyan. If we combine all three colors together, we create white. It is important to remark that the red, green and blue are the lit primary colors. and the illuminated secondary colors are thus the cyan, magenta and yellow. Consequently it is the opposite of the subtractive synthesis used by painters. We know that the television uses light. Inside a television we have a glass plate, luminophores, a blind, and a cannon of particles. The cannon of particles projects three rays of light: green, blue and red onto the blind The blind then concentrates them to ignite the luminophores. If the three colors, red, green and blue are alit, we then obtain the color white. If the green and red are lit, we have the color yellow. If the blue and green are lit, we have the color cyan. If the blue and red are lit, we have the color magenta. If only green is lit, we then obtain green. Joined together, these millions of points (pixels) create an image on the surface of the screen. Television thus uses the same procedure as Seurat by point. We can then speak again of pointillism.

Video Details

Duration: 5 minutes and 43 seconds
Country: Spain
Language: French (France)
Views: 168
Posted by: sedetania on May 8, 2013

Breve explicación, con subtítulos en español, de cómo la técnica pictórica utilizada por Seurat influye sobre la técnica de la televisión.

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