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Dialogues Across Arts:
Challenging Painting Reading with Musical Theatre Interpretation
By Kiattipoom Nantanukul
Dating back twenty-four years, in 1989, two interesting articles from visual art scholars’
perspectives about George Seurat ’s painting “Sunday Afternoon on the Island of La Grande
Jatte” or what has been usually called “the Grande Jatte” were printed by the Art Institute of
Chicago where the original painting is hung. Both articles came up with very controversial
argument on how the visual art scholars interpreted that particular painting. One is about the
appropriate innovative approach to read and interpret the painting at that time (1989).
Another discusses about dark anti-utopian world in the painting of Suerat .
This article is going to reconsider and challenge those two debates by creating dialogues
across different categories of arts, using contemporary musical theatre text “Sunday in the
Park with George.” The first performance of this musical on Broadway was in 1984, only
five years before the publishing of those articles.
“Sunday in the Park with George” was written by the veteran musical theatre composer and
lyricist, Stephen Sondheim and his collaborative friend James Lapine. It is one of only eight
musical plays that won Pulitzer Prize in Drama. Sondheim and Lapine collaboratively
interpreted and presented the meaning of this painting as the utopia and inspiration to pass on
the legacies of art from generation to generation. Furthermore, their major intention in
writing this book of musical was to reconstruct the life and work of George Seurat through
this major work. All of these arguments will show the examples of how the different and
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cross-discipline interpretation can make the painting be alive in various perspectives and lead
to more painting appreciation. However, before reaching the argument, brief overviewing on
both 1989 articles will provide us clearer debates from those two visual art scholars toward
“La Grande Jatte.”
John House wrote the article entitled “Reading the Grand Jatte.” In the article, he emphasizes
on the importance of the approaches to the interpretation of the painting among 1989
academic views. At that time, he states that the historian cannot ignore the ways in which the
contemporary viewpoints affect the reading of the past. This is particularly relevant in
discussions of “the Grande Jatte,” because the object itself has irredeemably changed, not so
much through the evident discoloration of its pigment, but because it has become a
celebrated, canonical museum object at great remove from its origins as an experimental art
with small numbers of people who were interested in it. This kind of change must be taken into
the ways in which they inform our approaches to the picture. (John House 1989: 116-117)
House (1989: 117) also points out four issues upon which 1989 discussion of “the Grande
Jatte” has focused: the island setting, the people on it, its exhibition, and the critical response
to the painting. These issues are concerned with the picture's original contexts in two
different ways. The first two pass through the image to the notion of a reality behind or
beyond it, included the geographical site of the island and the social identity of its occupants
at a moment in time. The second two remain centrally concerned with the picture itself as a
medium and as a focus of debate that generated meanings.
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In her article, Nochlin refers to Ernst Bloch’s “The Principal of Hope,” the magnum writing
of the German Marxist historian and philosopher, in the chapter entitled “Painters of the
residual Sunday, Seurat , Cézanne, Gauguin; Giotto's land of legend.” In that book, the
important part for Nochlin’s argument is where Bloch (1995: 814) says;
“…The real bourgeois Sunday, even as a painted one…is given in
Seurat's promenade piece…This picture is a single mosaic of boredom,a masterpiece of the longingly unsuccessful and distanced element in
the dolce far niente. The picture portrays a bourgeois Sunday morning
on an island of the Seine in the vicinity of Paris, and in fact: it now
portrays this solely in a scornful way…The result is bottomless
boredom, a petit-bourgeois and infernal utopia of distance from the
Sabbath in the Sabbath itself; Sunday proves to be merely a tormenteddemand, no longer a brief gift from the Promised Land. Such a
bourgeois Sunday afternoon is the landscape of painted suicide whichdoes not become one only because it even lacks resolution towards
itself. In short, this kind of dolce far niente is, in so far as it still has anyconsciousness at all, the consciousness of total non-Sunday in the residual
utopia of Sunday…”
This Marxist interpretation leads to Nochlin’s interpretation and the understanding of this
painting as the “Anti-Utopian Allegory.” The article magnified the detail in this painting
according to her anti-utopian argument by looking back to those utopianideas in the painting
before this work of Seurat . Nonetheless, Sondheim and Lapine have placed their musical play
in a very hopeful position after passing confusing situations in the play’s story. For them, this
painting creates a sense of hope and encouragement to the others.
To start the consideration across categories of arts, let discuss what Stephen Sondheim and
James Lapine was trying to do in their collaborative work? After ones have read the text, they
could be deeply moved by the musical book. They might found the sheer audacity of the idea
of the show amazing. It is basically a musical in which the first act breathes dramatic life into
one of the great works of late 19 th Century painting, “the Grande Jatte.” Then try to top act
one with a second act that takes place a hundred years later and deals satirically with the
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contemporary art world and the goes on to chronicle the sadness of a young artist who has
lost his way in it.
In June 1990, Andre Bishop (2000: 566-567) one of the members in the Playwrights Horizons
said after he had worked on “Sunday in the Park with George” that a month or so after the
show closed at Playwrights Horizons, he flew to Chicago to go to the Art Institute where
Seurat ’s “A Sunday Afternoon on the Island of La Grande Jatte” hangs. He thought he
probably should have done this at the outset instead of at the end of the musical production,
because as he walked up the steps and got closer and closer to the treasured painting, he
finally understood what it was the two authors [Sondheim and Lapine] were doing. In front of
him, and massively so, was an extraordinary composition of shapes and colors and
brushstrokes that reflected “the work of a man obsessed with his art.”
If we read the text of the play, we can find that many important notions in visual art studies
underlie the work of Sondheim and Lapine. They work with full of materials, not just
watching than painting and using their imagination. This musical is based on the life and
work of the Neo-Impressionist painter George Seurat whose simplistic opening lines to the
musical “Sunday in the Park with George” introduces the audience to six fundamentals of
Seurat ’s artistic process. The collaborators bring to life the painted figures in Seurat’s famous
work, “A Sunday Afternoon on the Island of La Grande Jatte” which serves as the impetus of
the entire work. This life size painting, intermingled with the scarce knowledge of Seurat ’s
personal life, provides an intriguing setting for the world of musical theatre to inhabit. As the
first line in the play, George says;
George : White. A blank page or canvas. The Challenge: bring order to
the whole. Through design. Composition. Balance. Light. AndHarmony. (Act I 575-576)
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Throughout the play, the audience observes the character of George Seurat paint and are
immersed in detailed references to the pointillist technique, such as the alignment of the
artist’s text to his painting strokes and his lover named after the essence of the technique,
Dot . The music that underscores the action and drives the motives of the characters mirrors
the pointillist technique through its complexity of notes strategically placed together to create
a cohesive score.
They also take the audience to the Impressionists theories that were not attended to and
certainty could not compete with its new scientific opponent. They highlight the fact that
science was gaining power in this industrious society, which directly opposed the ideals of
the Impressionists with its calculated structure and laws that had little tolerance for intuition
and emotion. At the time of this emergence, the term “scientific” carried two very different
connotations. On one hand, to be “scientific” meant to be a modern freethinker viewing
humanity both rationally and optimistically. On the other hand, to embrace this “scientific”
movement was to be a godless destroyer of the established faith, order, and hierarchy of
France. (Chris Elaine Staggel 2006: 6-7)
In hopes to embrace the former connotation and defy the popular artistic establishment of the
later connotation, a new artistic movement was conceived. Departing from the inspirational
ideals of Impressionism, an alternative approach to painting was adapted that relied more on
methodical and scientific technique. This approach, owing its primary basis to
Impressionism, was named Neo-Impressionism. And George Seurat is categorized in this
movement. In the play, there is a scene when George is trying to describe Jules, another
artist, about his new pointillist technique.
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Jules : George…I do not know what to say. What is this?George : What is the dominant color? The flower on the hat?
Jules : Is this a school exam, George?
George : What is that color?
Jules : (Bored) Violet.
(George takes him by the hand and moves him closer to thecanvas)
George : See? Red and blue. Your eye made the violet.
Jules : So?George : So, your eye is perceiving both red and blue and violet.
Only eleven colors – no black – divided, not mixed on the palette, mixed by the eye. Can’t you see the shimmering?
Jules : George…
George : Science, Jules. Fixed laws for color, like music.
Jules : You are a painter, not a scientist! You cannot even see
these faces!
George : I am not painting faces! I am –Jules : George! I have touted your work in the past, and now you
are embarrassing me! People are talking –George : Why should I paint like you or any body else? I am trying
to get through to something new. Something that is my own.Jules : And I am trying to understand.
George : And I want you to understand. Look at the canvas, Jules.
Really look at it.
Jules : George! Let us get to the point. You have invited me here
because you want me to get this included in the next
group show. (Act 1 629-630)
This short conversation is based on Suerat ’s use of color theory. The basis of optical mixture
is that if colors were placed together, the eye would mix the two hues to make another
resultant color. This theory is best explained and widely publicized by the French chemist
Michal Eugene Chevreul in his treatise “On the Principals of Harmony and Contrast of
Color.” In agreeing with Chevreul ’s work, Seurat hoped to demonstrate that juxtaposed
colors mix in the human eye more effectively than on the artist’s palette. Therefore, instead
of mixing red and yellow to make orange, Seurat placed red and yellow next to each other to
let the eye perceive orange. From visual art studies, it is interesting to note that Seurat never
mixed a color with another color that was not next to it on the color spectrum. He held true to
this method from the precise placement of colors on his square painter’s palette to the canvas
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he created. He even went as far as to paint the frames of his pictures with complementary
colors adjacent to the colors on the canvas. His system of applying paint in isolated dots of
color upon the canvas to create a finished picture devoid of drawn lines or mixture meant that
any lines that the viewer perceives are a result of putting a line of yellow dots next to a line of
blue dots for the eye to mix and create the illusion of a line. (Chris Elaine Staggel 2006: 12)
In terms of developing the musical score, Sondheim’s compositional strategy mirrored very
similarly that of Seurat ’s process. Just as Seurat devised the figures in his painting by
combining many previous drawings and sketches of the figures he collected from the park,
Sondheim created many separate vignettes for the characters in the park. These characters
represented by the twelve tone chord that is found in the beginning of the score are the
primary figures featured in the painting: George, Dot, Jules, Yvonne, Louise, Nurse, Old
Lady, the Soldiers, the Celestes, Franz, Frieda, and the Boatman. In the song “Color and
Light,” (591-595) Sondheim presents his song in very fantastic way. We can imagine the
action of George on stage while he is coloring and pointing the color on the big canvas. He
understands and uses the theory of color and light.
[George]
“Order. Design. Composition.
Tone. Form. Symmetry. Balance.
More red...And a little more red...Blue blue blue blueBlue blue blue blue
Even even...Good...
Bumbum bum bumbumbum
Bumbum bum...
Red red red red
Red red orange
Red red orange
Orange pick up bluePick up red
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Pick up orangeFrom the blue-green blue-green
Blue-green circle
On the violet diagonal
Di-ag-ag-ag-ag-ag-o-nal-nal
Yellow comma yellow comma Numnum num numnumnum
Numnum num...”
The development of the score and the conception of his musical numbers developed as the
composer took small segments of notes and combined them to compose motifs, for instance,
Sondheim uses those gibberish sounds to create the rhythm of Seurat ’s brushstrokes. These
various motifs represent the characters and themes in the story and when used in repetition
created the vast majority of the score. This is very like to Seurat pointillist technique in the
painting. And because of this idea, it makes this work of Sondheim so special and
meaningful.
The notion of anti-utopian idea in the painting by Linda Nochlin considers mainly at “Leisure
Sunday” of the bourgeoisie and this anti-utopia notion is what makes this painting of George
Suerat be unique among post-impressionist artists of his time. In Seurat’s painting, almost no
interaction between the figures is depicted. The articulate sense and the unique as well as the
full human presences are not there in the painting. The anti-utopian interpretation side argues
that this cannot be a representative of the utopian middle-class leisure Sunday at all. It is anti-
expressive, rejecting the notion of a hidden inner that should be externalized by the artist.
There is of course the characteristic of the classical utopia in the painting, such as
harmonious line, smooth and ageless bodies, a pleasing symmetry of composition, a
frictionless grouping of inoffensively nude or classically draped figures in a landscape of
Poussinesque unspecificity. Completely lacking is the social message we usually associate
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with utopian discourse. This is rather a utopia of (idealized) desire. These elements, claimed
by some scholars, totally lack in the “Sunday Afternoon on the Island of La Grand Jatte.”
(Linda Nochlin 1989: 135)
However, in Sondheim and Lapine’s interpretation, both playwrights present give the lives
and background stories to each figure in the painting. These creative lives and stories
represent the various lives of bourgeoisie in France 1884 to 1886. The figures in the image
have their relationships which Sondheim and Lapine use the historical and social context at
that particular time to create. George Seurat in the play starts his dialogue by mentioning five
artistic elements that stay toward the end of the play. The five elements are design,
composition, balance, light, and harmony. These elements are basic elements in impressionist
painting. When character Seurat in the play states all these elements at the very first line, it
contains the idea that he keeps intentionally depicting the lives of people on Sunday, the
leisure day of people in the park along the Seine River.
For instances, when they create the life of an Old Lady and Nurse, their conversation is about
to critic the idea of holding “International Exposition” which, historical chronologically,
George Seurat has painted the “Eifel Tower” while it was being constructed.
Old Lady : Nurse, what is that? Nurse : What, Madame?Old Lady : (Point out front) That! Off in distance.
Nurse : The are making way for the exposition.Old Lady : What exposition?
Nurse : The International Exposition. They are going to build
a tower.
Old Lady : Another exposition…
Nurse : They say it is going to be the tallest structure in the world.
Old Lady : More Foreigners. I am sick of foreigners. (Act I 579)
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Or when they start the life of character Dot, they start by talking about the taste of the
bourgeoisie in late nineteenth Century. As Dot talks to George
(The music coalesces into a theme, “Sunday,” as a cut-out of a couplerises at the back of the stage. George begins to draw, then stops
suddenly and goes to the wings and brings on a young woman, Dot.
She wears a traditional 19th
-century outfit: full-length dress withbustle, etc. when he gets her downstage right, he turns her profile, then
returns downstage to his easel. He begins to draw. She turns to him. Music continues under. Annoyed)
Dot : I feel foolish.
George : Why?
Dot : (indicating bustle) I hate this thing.
George : Then why were it?Dot : Why wear it? Everyone is wearing them!
George : (Begin sketching) Everyone…Dot : You know they are.
(She begins to move)George : Stand still, please.
(Music stops)
Dot : (Sigh) I read they’re even wearing them in America.
George : They are fighting Indians in America – and you
cannot read.
Dot : (Defensive) I can read…a little. (Act I 575-576)
The interpretation of the playwrights is not totally anti-utopian world according to Nochlin’s
argument where she mainly argued about the presences of the figures in the painting and the
mechanized characteristics of each figure. She claimed that in Seurat ’s painting, there is
almost no interaction between the figures, no sense of them as articulate, unique, and full
human presences. Rather, in these machine-turned profiles, defined by regularized dots, we
may discover coded references to modern science, to modern industry with its mass
production, to the department store with its cheap and multiple copies, to the mass press with
its endless pictorial reproductions. She then turned her argument into larger context by saying
that this work of Seurat has “a critical sense of modernity embodied in sardonic, decorative
invention and in the emphatic, even over-emphatic, contemporaneity of costumes and
accouterments.” (Linda Nochlin 1989: 135)
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However, for Sondheim and Lapine, their conversations in the painting is there, even without
the face of the figures or they have no exact idea what they are talking. They create the
dialogue suitably for each figure in the painting. All of the figures have their own stories, as
the way Seurat painted this image by gradually collect the figures one by one or group by
group. They also have suggestive gesture in Seurat ’s painting which lead to characterization
in the musical play.
Let move back a bit to another argument raised by John House (1989: 127-129), Modern-life
Salon painting is only one of the contexts in which “the Grande Jatte” must be considered,
but it is a crucial one, since it was within this framework that such a monumental image of
contemporary recreation would have been viewed. Other questions can also be asked, about
the stylistic affinities of the composition, about its painterly technique, and about the avant-
garde context in which it first appeared. For original viewers who recorded their thoughts in
print, the formal language of “the Grande jatte” was inseparable from its social meanings.
This leads us to the argument about class of people (figures) in the painting. Actully, what
salon accepted at that time is not what Seurat intentionally presented in the painting,
especially the assumption that there are not only the bourgeoisie but also the lower class in
the front right of the painting who Sondheim and Lapine create this figure as “a Boatman.”
From the background information that Seurat is sometime referred as a “humble, laborious,
intelligent technician,” who come from the “sober lower middle class of Paris from which
issue the engineers, the technicians, and the clerks of industrial society.” Seurat derived from
the more advanced industrial development of his time a profound respect for rationalized
work, scientific technique and progress through invention. This might be one of the reason
that makes the labour class appear problematically among the middle class people on Sunday
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in late nineteenth century, Paris. The role of Boatman in musical play is very interesting. He
is one of the close friends of character George in the play. He also plays a role as a social
critic as we can see from his monologues.
Boatman : (Laughing) People all dressed up in their Sunday – best
pretending? Sunday is just another day. I wear what Ialways wear – then I don’t have to worry…They leave me
alone dressed like this. No one comes near. (Act I 599)
Boatman : Sunday hypocrites. That’s what they are. Muttering and
murmuring about this one and that one. I’ll take my old dog
for company any day. A dog knows his place. Respects
your privacy. Make no demands… (Act I 600)
In the song named “Gossip” the Boatman sings about those women in the painting as
“…Over privileged woman, Complaining, Silly little simpering, Shop girls, Condescending
artists, “Observing;” “Perceiving”... Well, screw them!...” Even strongly middle class social
critique is very obvious in the play, it does not make the play stand in the totally anti-utopian
society in late nineteenth century. As House may debate on Nochlin’s argument that the
painting is still follow major elements in that period painting. Many of the painting’s themes,
according to House’s interpretation, were common in Salon paintings by the mid-1880s: the
world of fashion and the relationship between the sexes; soldiers and men smoking or playing
music; women, children, nursemaids, and pets. All were depicted out of doors, involved in
seasonal or weekend recreations such as taking walks, boating, or fishing. This is because of
a social history of art must keep in view the way pictures are understood in relationship to
other paintings or images. A picture creates, rather than reflects, a reality, and the initial
terms of reference of this reality involve other visual representations. (John House 1989: 117)
Furthermore, Sondheim and Lapine’s play also leads to the last song called “move on.” This
last song concludes the major theme in the play, although many problems affect your life and
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your life seems unsuccessful, keep move on in your life. It is the notions of hope and
encouragement that cover throughout the play.
The last major arts-crossing dialogue is the argument from House that historically, one
painting is not enough to construct the life of the painter, and it is not fair to do that.
However, one major intention of the musical playwrights is to reconstruct the life of George
Seurat , including his personality and work. We can see this element throughout the play. The
character George in the play is reflected as a kind of dictated artist who is not easy to deal
with. His brushstrokes emphasize “the work of a man obsessed with his art” since the
thematic song of the play called “Sunday in the Park With George,” Dot sings about George;
[Dot]
“…Artists are bizarre, fixed, cold
That's you, George
You're bizarre, fixed cold
I like that in a man
Fixed, cold
God, it's hot up here
Well, there are worse things
Than staring at the water on a SundayThere are worse things
Than staring at the water
As you're posing for a picture
Being painted by your lover
In the middle of the summer
On an island in the river on a Sunday…”(Act I 580-583)
Moreover, Dot also has monologue addressing the life of George.
Dot : George taught me all about concentration. “the art of
being still,” he said. I guess I did not learn soon enough. George likes
to be alone. Sometimes he will work all night long painting. We fought
about that. I need sleep. I love to dream. George doesn’t need as much
as sleep as everyone else. And he never tell me his dreams. George has
many secrets. (Act I 591)
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For his personal life, George in the play is interpreted as a high-ego artist who wants
everybody around him to be as exact as what he wants. Even in his work life, he is still a too
confident artist who, again “obsesses with his own work.” Whe George talks to Jules about
his innovative work, he say;
Jules : Your life needs spice, George. Go to some parties. That is
where you’ll meet perspective buyers. Have some fun. Thework is bound to reflect –
George : You don’t like my work, do you?
Jules : I did once.
George : You find it too tight.
Jules : People are talking about your work. You have your
admirers, but you –George : I am using a different brushstroke.
Jules : (Getting Angry) Always changing! Why keep changing?George : Because I do not paint for your approval.
Jules : And I suppose that is why I like you. Good to see you,George.
George : (Calling after him) Jules! I would like you to come to the
studio some time. See the new work…
Jules : For my approval?
George : No! For your opinion. (Act 1 614-615)
These conversations and monologues certainly were aesthetically created through
imagination of the playwrights. However, it is bases on the hard researching of the
playwrights. There are enough evidences from only painting to reflect the painter’s life and
his characteristic reasonably and believably from theatrical point of view although it has
caused the different interpretation and approach with some opinions from visual art scholars.
In conclusion, according to the work of Sondheim and Lapine, they create an optimistic
theme for the musical play and reasonably as well as meticulously find appropriate
characteristic figures in the play. This is opposed to Nochlin’s argument about the anti-
utopian allegory in the painting. In terms of the life and work of George Seurat , the
playwrights characterizes the protagonist of the story by considering and interpreting from
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the painting itself and from the wide research in life and work of George Seurat which
provide a different point of approach by Jame House who concerned more about the
historical approach in 1989.
From all the discussion above, we realize that the making of dialogue across the categories of
arts is beneficial. Even though, from the musical theatre perspective, it may be arguable in
terms of authorship, it still give us a chance to look and read the painting deeper and more
thoroughly. This is a good sign of cultivating artistic appreciation. We might appreciate all
categories of arts more.
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Bibliography
Bloch, Ernst. The Principle of Hope. Translated by Neville Plaice, Stephen Plaice,
and Paul Knight. Cambridge: The MIT Press, 1995.
House, John. “Reading the Grande Jatte.” Art Institute of Chicago Museum Studies.
14, 2 (1989), 114-131, 240-241. [Online]. From JSTOR Item: 4108746.
Retrieved February 24, 2013. Nochlin, Linda. “Seurat’s Grande Jatte: An Anti-utopian Allegory.” Art Institute of
Chicago Museum Studies. 14, 2 (1989), 132-153, 241-242. [Online].
From JSTOR Item: 4108747. Retrieved February 24, 2013. Sondheim, Stephen. Four by Sondheim. New York: Applause Theatre &
Cinema Books, 2000.
Staffel, Chris Elaine. “Portraying Pointillism: An Actress’s Journey Through Pointillism to
Define the Role of Dot in Sondheim and Lapine’s Musical Sunday in the Park
with George.” Master’s thesis, University of Central Florida, 2006.
Recommended