tour eiffel de seurat

“The Eiffel Tower” by Georges Seurat – Strokes of Brilliance

Georges Seurat’s The Eiffel Tower , painted in 1889, is a striking example of his innovative technique known as Pointillism, a method that involves applying small, distinct dots of color to form an image. This artwork captures the grandeur and modernity of the Eiffel Tower, a symbol of Paris and a marvel of engineering completed the same year Seurat painted it. Seurat’s meticulous approach and his fascination with the effects of light and color are evident in this piece, which stands as a testament to the vibrancy and dynamism of the late 19th-century Parisian landscape. The painting reflects Seurat’s scientific approach to art, as well as his ability to transform ordinary scenes into extraordinary visual experiences through his unique artistic vision.

Table of Contents

• 1 Key Takeaways
• 2.1 Pointillism and Its Evolution
• 2.2 The Eiffel Tower in Art
• 3.1 Color Theory and Composition
• 3.2 Seurat’s Interpretation
• 3.3 Seurat’s Unique Brushstrokes
• 4 Impact and Legacy
• 5.1 What Artistic Techniques Did Georges Seurat Employ in His Painting of the Eiffel Tower?
• 5.2 What Kind of Materials Is Georges Seurat Known to Have Used in His Paintings?
• 5.3 How Does Georges Seurat’s Personality Reflect in His Artwork, Including The Eiffel Tower?

Key Takeaways

• The Eiffel Tower by Seurat exemplifies his pointillism technique.
• The painting reflects the historical context of the 1889 Paris World’s Fair.
• Seurat’s work is a notable contribution to the Neo-Impressionist movement.

Historical Context

Georges Seurat, a pioneer of the French Post-Impressionist movement, captivated the art world with his masterpiece, The Eiffel Tower , created around 1889. This iconic painting showcases Seurat’s unique pointillism technique, where tiny dots and precise brush strokes combine to form an intricate and delicate representation of one of Paris’ most famous landmarks. A testament to Seurat’s skill, the painting captures a dreamy yet accurate portrayal of the Eiffel Tower, blending realism with an air of whimsy. The Eiffel Tower itself was constructed for the 1889 Paris World’s Fair, symbolizing modernity and industrial achievement.

Seurat’s painting emerges from this historical backdrop, reflecting both the structure’s architectural grandeur and its emblematic presence in Parisian culture. Measuring 24 x 15 cm, this oil-on-wood piece is small in size but powerful in its impact, encapsulating the transformative spirit of its era through a modern artistic lens. Seurat’s work sits prominently within the Neo-Impressionist movement, highlighting his innovative approach to color and form. By employing pointillism, Seurat avoided traditional brushwork, instead creating a mosaic of light and color that leaves a lasting impression. Seurat’s The Eiffel Tower not only immortalizes one of the world’s most recognized structures but also exemplifies his dedication to pushing the boundaries of artistic expression through new techniques.

Pointillism and Its Evolution

Georges Seurat pioneered Pointillism, a technique involving the application of small dots of color. This approach was intended to blend visually when viewed from a distance. Seurat’s method was influenced by scientific theories on color and perception, aiming to create vivid, dynamic compositions.

Paul Signac, a contemporary of Seurat, further developed this technique.

Neo-Impressionism emerged, characterized by precise brushwork and an emphasis on light effects. Seurat’s A Sunday Afternoon on the Island of La Grande Jatte exemplifies this style. This technique required meticulous planning and an understanding of color theory to achieve the desired optical effects.

The Eiffel Tower in Art

The Eiffel Tower was completed in 1889 for the Paris World’s Fair, symbolizing industrial innovation. Seurat captured this modern icon in his painting, emphasizing its geometric structure through pointillist dots. Placed within the context of Parisian life and modernity, Seurat’s depiction of the Eiffel Tower showcases the intersection of art, technology, and urban culture. The tower’s construction fascinated artists and writers, inspiring a myriad of creative works. Seurat’s interpretation reflects his vision of blending natural elements with industrial progress. This juxtaposition underscores the significance of the Eiffel Tower in both art history and cultural identity.

Artistic Analysis of The Eiffel Tower

Georges Seurat’s work The Eiffel Tower is a prime example of Neo-Impressionist art. This analysis will delve into Seurat’s use of color theory, his unique interpretation of the landmark, and his distinctive brushwork.

Color Theory and Composition

Seurat employed a meticulous approach to color, using small, distinct dots of pure pigment. This technique, known as Pointillism, creates a vibrant interplay of colors when viewed from a distance. He utilized complementary colors to enhance visual contrast and harmony in the painting. The application of warm hues for the structure and cool tones for the background serves to balance the composition.

By controlling these elements, Seurat achieved a dynamic yet balanced aesthetic.

Seurat’s Interpretation

Seurat’s depiction of the Eiffel Tower is characterized by its simplification and abstraction. He avoided extensive detail, choosing instead to capture the essence and geometric form of the iconic structure. This approach brings attention to the tower’s modernity and engineering marvels of the time. By framing the tower against the Parisian skyline, he emphasizes the juxtaposition between nature and human innovation.

His portrayal reflects the societal fascination with industrial advancement during the late 19th century.

Seurat’s Unique Brushstrokes

Seurat’s technique involved placing tiny dots of paint meticulously across the canvas. This pointillist method creates an optical blending effect, where colors mix in the viewer’s eye rather than on the palette. This method demands precision and patience, resulting in a textured surface that enhances the viewer’s visual experience. The brushstrokes follow a rhythmic pattern, contributing to the sense of structure and coherence within the painting.  Through this technique, Seurat adds depth and dimension, engaging the viewer in an interactive observation of color and form.

Impact and Legacy

Georges Seurat’s The Eiffel Tower has left a significant mark on the world of art, particularly within the Neo-Impressionism movement. Seurat’s use of pointillism in this painting highlights the vibrant and intricate details of the tower and its surroundings. This technique adds depth to the cityscape, enhancing its vibrancy and capturing the lively essence of Paris. Housed at the Fine Arts Museums of San Francisco, this artwork is part of a prestigious collection, drawing numerous visitors daily. It stands alongside other notable works, including Sunday Afternoon on the Island of La Grande Jatte and The Circus .

Seurat’s representation of the Eiffel Tower has also contributed to its iconic status, emphasizing the tower’s grandeur during the late 19th century.

The painting offers a unique perspective on the Seine and the bustling life around it, reflecting Paris’s dynamic atmosphere. The Eiffel Tower by Seurat is celebrated particularly in the United States where it continues to inspire contemporary artists and enthusiasts. Its presence in San Francisco further bridges the artistic connections between Paris and American art scenes. Overall, this painting by Seurat serves as a testament to his enduring legacy and profound impact on Impressionism and Neo-Impressionism.

Georges Seurat’s The Eiffel Tower not only captures the essence of a groundbreaking architectural marvel but also exemplifies the artist’s pioneering Pointillist technique. Through his methodical application of color and light, Seurat transforms a symbol of modernity into a vibrant mosaic of visual splendor. The painting stands as a testament to Seurat’s commitment to innovation and his profound influence on the Post-Impressionist movement. The Eiffel Tower remains a celebrated piece in art history, illustrating the harmonious blend of artistic creativity and scientific precision that defined Seurat’s career and left an indelible mark on the evolution of modern art.

Frequently Asked Questions

What artistic techniques did georges seurat employ in his painting of the eiffel tower.

Georges Seurat is famously associated with the technique of Pointillism. In this painting, he used small, distinct dots of color applied in patterns to form an image. This method allows the viewer’s eye to blend the colors from a distance.

What Kind of Materials Is Georges Seurat Known to Have Used in His Paintings?

Georges Seurat primarily used oil paints on canvas. He was meticulous in his choice of pigments, often opting for brighter and more vibrant hues to achieve the desired effect in his Pointillist technique. Additionally, he used a fine brush to apply the individual dots of paint.

How Does Georges Seurat’s Personality Reflect in His Artwork, Including The Eiffel Tower ?

Seurat’s meticulous nature and analytical mind are reflected in his precise and methodical approach to painting. His dedication to scientific principles of color theory and his innovative techniques highlight his commitment to his craft. The Eiffel Tower painting demonstrates his attention to detail and his structured, deliberate style.

Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.

Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history.

Learn more about Isabella Meyer and the Art in Context Team .

Cite this Article

Isabella, Meyer, ““The Eiffel Tower” by Georges Seurat – Strokes of Brilliance.” Art in Context. June 5, 2024. URL: https://artincontext.org/the-eiffel-tower-by-georges-seurat/

Meyer, I. (2024, 5 June). “The Eiffel Tower” by Georges Seurat – Strokes of Brilliance. Art in Context. https://artincontext.org/the-eiffel-tower-by-georges-seurat/

Meyer, Isabella. ““The Eiffel Tower” by Georges Seurat – Strokes of Brilliance.” Art in Context , June 5, 2024. https://artincontext.org/the-eiffel-tower-by-georges-seurat/ .

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The Most Famous Artists and Artworks

Discover the most famous artists, paintings, sculptors…in all of history! 

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The Eiffel Tower by Georges Seurat

According to Gustave Coquiot, this work was painted in 1890, the year after the tower was opened for the Paris World's Fair-at which it provided the main attraction. Completed on March 31, 1889, the tower is 984 feet tall and is composed of 12,000 metal parts held in place by 2,500,000 rivets.

Impressed by the intricate calculations involved in this piece of architectural engineering, no doubt also indulging his fondness for the vertical, Seurat shows us the tower from across the Pont d'Iena, soaring into a sky spangled with vibrant dots. This is a tribute to "the great lady" who, at the time, made the public uneasy. Two years before its completion a number of writers protested, among them J.-K. Huysmans, who called it "the spire of a junkyard Notre Dame."

Here Seurat's dots are rounded, like so much blue and orange confetti. They are running in every direction, up, and down, making circular swirls and contrapuntal contrasts. The work is fresh, highly colorful, and firmly set against the Paris sky-Seurat's sky.

La Grande Jatte

Bathers at asnières, circus sideshow, young woman powdering herself, the channel of gravelines, petit fort philippe, study for la grande jatte, grandcamp, eevening, a field of alfalfa, saint denis, the channel at gravelines, seascape at port-en-bessin, normandy, la rade de grandcamp, le bec du hoc, grandcamp, the lighthouse at honfleur.

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The Eiffel Tower

The Eiffel Tower painting by Georges Seurat, a famous French painter, is arguably one of the most outstanding pieces of history that rock the face of the world today. It is a simple hand-painted piece of art-work that features an artistic impression of the world renowned Eiffel Tower.

Art Techniques

This awe-inspiring art print boasts genius artistic techniques. Since its creation during the neo-impressionist era (1889 to be precise), the finely designed piece of artwork has stunned many with its outstanding portrayal of light, tiny brushstrokes.

The groundbreaking paint utilizes elaborate linear structures and scientifically devised geometric order.

Seurat was known for his genius ways of playing around with various color theories. This is evident in this vividly crafted show of artistic might.

With a deep history behind its exponential rise to fame, The Eiffel Tower continues to reign supreme in the ever-evolving world of art. Its elegant size and top-notch versatility are just but some of the key features behind its popularity.

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Georges Seurat

de Young Museum

50 Hagiwara Tea Garden Drive San Francisco, CA United States

More about Eiffel Tower

H: 9 1/2 x W: 6 in.

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Ways of Pointillism: Seurat, Signac, Van Gogh by Klaus Albrecht Schröder

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Whether or not the world as Georges Seurat saw it was as out of focus as many of his paintings and drawings would suggest is up for debate.

One thing is for sure, his particularly persnickety style of painting drew a (presumably) spotty dividing line between the older Impressionists and those feisty young upstarts known as the Post-Impressionists. La Tour Eiffel , finished just months ahead of the completion of the tower for its 1889 World’s Fair debut, is a quiet riot of devilishly precise dabs of color.

The Seurat dots of La Tour Eiffel  are a riot of multicolored confetti, each piece notched in just so in order to complement and modify the dots adjacent. This is Seurat’s thing, painting in a way that allows the viewer’s eyes to blend the myriad colored dots into a unified, vividly colorful image. Seurat called this new technique 'chromoluminarism,' though it is better known as Divisionism. It later became known as Pointillism after the tiny strokes of paint that help create the flickering effect of Seurat’s surfaces.

This flickering effect is most pronounced in La Tour Eiffel . The bright sky shimmers with obsessive flecks of white, gold, and blue. And dead center in the middle of this flickering psychedelia appears a promontory of dazzling dots extending to the top of the painting where it simply dematerializes back into the ether.

After studying and contemplating this painting for a couple weeks, the following conclusions have been drawn: Pointillism isn’t especially funny. Heck, it’s not even particularly cute. Pointillism is serious stuff brought to light by a draftsman from a wealthy family who just so happened to have the mad skill of mixing abstract painting with mathematics to come up with a bit of magic that marked the beginning of a new era in the world of art.

I can’t say I fully agree when critics say Seurat’s Eiffel Tower is a great work of art, but I’ll give the guy credit where credit is due.

I’m sure the Eiffel Tower was a big deal around the time that Seurat painted it and in fact, the Eiffel Tower is STILL a big deal. Seurat painted this about two months before engineer Gustave Eiffel had finished it, and obviously WAY before it became the place to take countless photographs of yourself making out in front of it, people holding up peace signs, people holding up the tower by its tip, amongst many other classic yet cheesy poses, only now boosted in creativity with the invention of the selfie stick.

I still try to figure out what the actual function of the tower was supposed to be, but in spite of its ambiguous purpose, it doesn’t upset me so much to look at it. However, critics and intellectuals at that time were just plain pissed with this massive erection (pun intended) on their precious Parisian landscape. Seurat was obviously dotty about it though (I’ll stop now). Enough to sit down by the quai de Passy during different times of the day and paint this baby.

Now, like I said, its no Sunday Afternoon on the Island of La Grande Jatte, but it’s still a pretty little picture. Even though the tower lives up to its name and does indeed tower over the city, Seurat painted it sweetly on a small canvas. Keeping monumentality out of it, Seurat uses his characteristic technique of painting in dots or points and somehow makes the structure of the tower look a lot lighter, in terms of weight. Again, this doesn’t have to do with the size of the painting but more to do with the way these colored dots look like they just spontaneously ossified into the Eiffel Tower. In that, they look like they could also diffuse any second and the whole picture could go poof! In fact, one of the reasons why Seurat felt an affinity with this modern construction was because he was getting a lot crap at that time for his less than conservative painting technique. Seurat maybe thought, “Us rebels gotta stick together” and went for this.

Ok, so maybe the later critics were onto something when they called it a great piece. Feel free to pick up the $5 fridge magnet version of this if you agree.

Comments (1)

his art is horrible

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Eiffel Tower

Georges Seurat

Artwork Viewer

The inventor of the so-called Neo-Impressionist, or pointillist, technique, Seurat used tiny dots of bright, contrasting color to evoke form and light. His technique drew on contemporary theories of visual perception, seeking to give painting a new structure and scientific grounding. Here his subject was the famous tower built by Gustave Eiffel in 1889 for the Universal Exposition in Paris. Seurat portrayed the structure prior to its completion in the summer of 1889. The top, still missing its distinctive crowning platform, seems to dissolve into the sky.

Exhibition History

Bibliography, currently on view, woman holding a swan, mid 4th century bc, composition of right foot, 19th-20th century, a mature man preparing to make love to a young girl, ninth scene from the series handscroll for the sleeve (sode no maki), ca. 1780-1790, new acquisitions, the little eugène de montesquiou-fézensac asleep, 1783, motif pour tenue de reine, 2023, woman's ensemble: dress (a) and bracelet (b), ca. 1920, portrait of bianca degli utili maselli and her children, ca. 1604-5, portrait of a youth through time, 2022.

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The Eiffel Tower by Georges Seurat

Title of Artwork: “The Eiffel Tower”

Original title:  “la tour eiffel”.

Artwork by Georges Seurat

Year created 1889, all about the eiffel tower by georges seurat.

In the midst of Paris’s busy streets, in the year 1889, artist Georges Seurat unveiled his magnificent work, “The Eiffel Tower.” This famous piece of art was produced while the renowned tower was being built, and it has a special place in the annals of art. Seurat’s “The Eiffel Tower” is a well-known work of art thanks to his exacting technique, original use of pointillism, and ability to capture the essence of this engineering marvel.

Georges Seurat, a pioneer of the pointillist movement, used countless tiny dots of paint to create his masterpieces. Seurat painstakingly placed each dot to create a seamless image with an eye for colour theory and scientific accuracy. This method is best demonstrated in “The Eiffel Tower,” where Seurat expertly captures the interaction of light and shadow on the tower’s intricate iron structure. The meticulously placed dots give the painting a sense of depth and luminosity, as well as a distinct vibrancy and energy.

Seurat’s portrayal of the Eiffel Tower captures the spirit of the era in addition to his technical mastery. The tower, which was finished in time for the 1889 Exposition Universelle, symbolised the invention and development of the time. In Seurat’s depiction, the tower stands out dramatically against the backdrop of Paris, evoking the grandeur and ambition that went into its design. Seurat conveys the architectural beauty of the building as well as the era’s industrial spirit by using pointillism to capture the iron lattice and intricate details.

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Seurat’s mastery of composition is also evident in “The Eiffel Tower”. The tower occupies the centre of the painting’s canvas, surrounded by the park’s lush vegetation and the animated figures of people taking in the view. The harmony and balance in Seurat’s composition help to focus the viewer’s attention on the main feature while also giving a glimpse of the bustling life that surrounds the monument.

Additionally, “The Eiffel Tower” marks a turning point in art history because Seurat’s avant-garde approach and portrayal of modernity paved the way for later movements in the arts. His meticulous attention to detail and careful dot placement, which are hallmarks of his pointillist style, had a major impact on later artists and helped post-impressionism and neo-impressionism to emerge.

Despite its age, “The Eiffel Tower” still draws viewers in with its stunning appearance and interesting past. The artwork serves as evidence of Seurat’s artistic genius, demonstrating his capacity to capture not only the external features of a scene but also its atmosphere and spirit. By taking viewers back to the 19th century and immersing them in the allure and wonder of the Eiffel Tower’s construction, it acts as a visual time capsule.

Finally, “The Eiffel Tower” by Georges Seurat is a magnificent work of art that perfectly captures the spirit of this engineering marvel. Seurat skillfully captures the play of light and shadow, the majesty of the tower, and the vibrant life around it using his unique pointillist technique. The painting not only captures the mood of the era, but also an important turning point in the development of art. It continues to enthral and inspire viewers today, serving as a monument to Seurat’s artistic brilliance and inviting us to appreciate the beauty of both the iconic building and the artist’s distinctive vision.

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The Eiffel Tower (1889) by Georges Seurat

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Artwork Information

About the eiffel tower.

The artwork titled “The Eiffel Tower” is a cityscape painting by Georges Seurat, created in 1889. It is executed in oil on wood and measures 24 x 15 cm. Notable for its place within the Neo-Impressionist movement, the painting is currently housed at the Fine Arts Museums of San Francisco in San Francisco, CA, United States.

In the artwork, the Eiffel Tower dominates the composition, standing at the center against a luminescent sky. True to the Neo-Impressionist method, the painting is composed of numerous small brushstrokes that give the impression of a shimmering surface when viewed from a distance. The palette predominantly features a range of blues, with touches of warmer tones that suggest the interplay of light and structure. At the base of the Eiffel Tower, Seurat illustrates a simplified cityscape, with strokes of colors representing buildings and the horizon. The division of color and light captures a moment of tranquility within the bustling city of Paris, creating a sense of atmospheric depth and vibrancy typical of Seurat’s practice.

Other Artwork from Georges Seurat

A Corner of the Harbor of Honfleur (1886) by Georges Seurat

The Black Horse (1883; France) by Georges Seurat

A canoes (1884 – 1885; France) by Georges Seurat

Anaïs Faivre Haumonté on her deathbed (1887; France) by Georges Seurat

Sunday at Port-en-Bessin (1888) by Georges Seurat

The Lighthouse at Honfleur (1886) by Georges Seurat

More neo-impressionism artwork.

Study for Blue Apple Tree Series (1908) by Piet Mondrian

Meadows at Eragny (1886) by Camille Pissarro

Snow, Boulevard de Clichy, Paris (1886) by Paul Signac

Avond (Evening); Red Tree (1908) by Piet Mondrian

Meadow at Bazincourt (c.1886) by Camille Pissarro

Pear Trees in Bloom at Eragny, Morning (1886) by Camille Pissarro

Apple-Picking (1886) by Camille Pissarro

Peasant Girl Drinking her Coffee (1881) by Camille Pissarro

Lighthouse in Westkapelle (1909) by Piet Mondrian

The Pool of London (1906) by Andre Derain

Port of La Rochelle (1921) by Paul Signac

Molen (Mill); Mill in Sunlight (1908) by Piet Mondrian

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Eiffel Tower

Georges seurat, legion of honor san francisco, ca, united states.

• Title: Eiffel Tower
• Creator: Georges Seurat
• Physical Dimensions: 9 1/2 x 6 in. (24.1 x 15.2 cm)
• Rights: Museum purchase, William H. Noble Bequest Fund
• Medium: Oil on panel

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La tour Eiffel. Paris

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Robert Delaunay's Eiffel Tower

Robert Delaunay, "Eiffel Tower," 1924. Oil on Canvas, 161.6 cm x 96.8 cm. Saint Louis Art Museum, Saint Louis.

Robert Delaunay, an artist who lived in Paris between 1900 and 1940, is best known for his paintings the  Eiffel Tower Series . He painted the first series between 1909 and 1912 and a second series between 1920 and 1930. [i]  This painting from 1924 is from the second series where Delaunay paints in a style known as Orphic Cubism, where color is used to envision form through planes and lines of contrasting colors. As Delaunay wrote in his journal, the Eiffel Tower was the “barometer of [his] art,” a symbol of Paris and its success as a modern haven. [ii]  Delaunay saw the Eiffel Tower as the pride of France as the country stepped boldly into the modern age. [iii]  Like other artists that relayed their urban experiences by painting cityscapes, Delaunay used the structure as a template upon which he conveyed his imagined visions and perceptions of Paris. Unlike the German Expressionists’ typically chaotic and dark paintings of urban scenes, Delaunay’s post-war Eiffel Tower series celebrates the enthusiastic feeling for progress that the modern metropolis would allow. By 1924 Paris was a center of innovation and recreating the Eiffel Tower as he imagined it allowed Delaunay to communicate his own optimism for modern life.

Georges Seurat, "Tour Eiffel,"Oil on Canvas. 24 x 15 cm. The Fine Arts Museum of San Francisco, San Francisco. 

Robert Delaunay, influenced by the Post-Impressionists and the Fauvists, transformed the expression of color on canvas by painting the effect of “simultaneous contrasting colors.” [iv]  Color, more than any visual element of a painting, can engage the sensation of sight and activate the eye of the viewer. Beginning in the 1880s in Germany and France, artists began manipulating color outside of its accepted purpose as a pictorial element that mirrored pigment, light, and color as it was in reality. Georges Seurat took a scientific approach in applying color theory with his pointillist paintings, while later on the Fauvists began creating imagined forms with flat planes of bright colors. Comparing  Eiffel Tower  to Seurat’s painting of the monument from 1889, it is apparent that Delaunay’s particular use of certain colors and careful placement thereof to mimic the effects of light on the monument is similar to Seurat’s scientific use of color theory (Figure 1). However, Delaunay has flipped Seurat’s notion of capturing light by varying only application and intensity of a realistic color. Instead, he sought to capture light only through bold and imaginitive Fauvist-inspired pigment.

Robert Delaunay, "Eiffel Tower," 1910. Oil on Canvas, 20 cm x 16 cm. Solomon Guggenheim Museum, New York City.

The more Delaunay painted the Eiffel tower, the more abstracted it became. According to Mark Roesenthal, author of  Visions of Paris: Robert Delaunay's Series , by the time Delaunay painted the monument in 1924, the artist had “…studied it from above, and below, inside and out, from near and far, by day and by night. He absorbed its every mood, perspective, and light effect.” [v]  Over years of study, he was able to conquer the structure by mastering perspective of the tower from all possible dimensions and aspects. Initially, as in  Eiffel Tower  1910, (Figure 2),   Delaunay focused on deconstructing the tower in its space so that it emerges from a variety of elements, standing tall in a swirling environment. He paints in Cubist style, choosing to deconstruct via lines and shapes rather than by color. Only once he was able to branch away from Cubism around 1913 and focus on color as the pictorial device to fragment did Delaunay pioneer Orphic Cubism. By his painting in 1924, his shift in style is evidenced by the Eiffel Tower no longer being a singular form emerging from fragmented space but rather as the object of fragmentation itself. As the viewer comes closer to the painting, the Eiffel Tower loses its sense of solidness as a whole form and instead becomes a grid work of shapes and lines. Thus, Delaunay’s fixated study of the Eiffel Tower during his life was due to both an artistic fascination with its form as well as to his perception of the tower as a shining beacon of France’s strength in progress. 

View of the Eiffel Tower and Champs de Mars, Paris . Photograph reproduced in Mark Rosenthanl, Visions of Paris: Robert Delaunay’s Series (New York, NY: Guggenheim Museum, 1997), 61.

In  Eiffel Tower,  painted in 1924, an aerial perspective of the tower and the range of colors used make it seem near at hand, while simultaneously magnificent in its awesome size and vertically stretching orientation. The aerial perspective on the Eiffel Tower creates an aura of grandiosity and heavenward verticality. The top of the tower is cut off and the entire piece framed as if viewed from a higher window. Delaunay paints as if the observer was looking down on the entirety of Paris through a window but could only see the Eiffel Tower, communicating the dominance of the Eiffel Tower over the entirety of Paris as one observes it from above. A contemporary photograph of the monument at the time period from the same perspective illustrates how vertical and domineering the tower truly looked from above (Figure 3). This mobile perspective in  Eiffel Tower  also implicates the viewer as an observer and the artist as the imaginer, emphasizing that Delaunay’s imagination has ordered the visual elements at his disposal to paint  Eiffel Tower .

The range of contrasting colors, Delaunay’s main focus, creates an optical effect where every color zone is pushed forward or backward in space by its neighbor. Delaunay wrote about this idea of simultaneous colors (or simultaneity) as  “…a certain combination of colors, in harmonic contrast with each other, can reproduce the movement of light.” [vi]  Delaunay realized that light was “actualized through color” and thus when contrasting colors to intensify them one could capture the movement of light that occurred within each hue. [vii]   Eiffel Tower  combines many complementary and dissonant colors, ultimately each working together so that color has taken over the function of solid form. Additionally, light seems to be reverberating throughout the entire canvas because of the ordered layering of colors. The flatness of the painting only becomes apparent upon close viewing, because the juxtaposition of darker colors with passages of white creates a sculptural sense of recession into space. The colors in  Eiffel Tower  communicate the vibrancy and dynamism of the urban environment in Paris.

By being “imaginative, not imitative” Delaunay transforms the image of a recognizable monument to a personally relevant image conveying the energy of urbanism and modernity. [viii]  The Eiffel Tower was a universal symbol for human growth in the metropolis and a personal connection to innovation Delaunay sought over the course of his career. His pioneering of Orphism culminates the century-long exploration by artists to extract the properties of color and manipulate them to give new meaning to it as a communicator of sensation and thought. In contrast to German Expressionists, Delaunay forgoes personal relevancy to his subject matter in favor of more aesthetic exploration. Meidner and Kirchner could not truthfully embrace a nationalistic identity at a time when Berlin seemed to be collapsing. Instead, they sought to transform thoughts of pessimism on modernity and personal visions of ruin into expressive images of city life and the cityscape of Berlin. Delaunay’s work reflects French optimism in the immediate years after its victory over Germany in World War I; hence he creates a nationalistic piece with a monument to urbanism in  Eiffel Tower .   

[i]  Gustav Vriesen and Max Imadahl,  Robert Delaunay: Light and Color  (New York, H. N. Abrams, 1969), 66.

[ii]  Vriesen and Imadahl,  Robert Delaunay: Light and Color . 71.

[iii]  William Thompson, “The Symbol of Paris: Writing the Eiffel Tower,”  The French Review : 1130-40, accessed February 1, 2015.

[iv]  Mark Roesenthal, “Visions of Paris: Robert Delaunay’s Series,” 77.

[v]  Roesenthal, “Visions of Paris: Robert Delaunay’s Series”

[vi]  Herschel Chipp, “Orphism and Color Theory,”  The Art Bulletin:  55-63, accessed February 1, 2015.

[vii]  Roesenthal, “Visions of Paris: Robert Delaunay’s Series” 89.

[viii]  Vriersen and Imadahl,  Robert Delaunay: Light and Color , 88.

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