Golden Section Collection

A Sunday on La Grande Jatte, 1884-86 (oil on canvas)
2967770 A Sunday on La Grande Jatte, 1884-86 (oil on canvas) by Seurat, Georges Pierre (1859-91); 207.5 x308.1 cm; The Art Institute of Chicago, IL

Sketch for Paris, a Rainy Day, 1877 (oil on canvas)
MMT26053 Sketch for Paris, a Rainy Day, 1877 (oil on canvas), pre-restoration (see 181504) by Caillebotte, Gustave (1848-94); 54x65 cm; Musee Marmottan Monet, Paris, France; (add.info.: Rue de Paris)

Detail of the Bathers at Asnieres, 1884 (oil on canvas)
3247663 Detail of the Bathers at AsniAres, 1884 (oil on canvas) by Seurat, Georges Pierre (1859-91); 201x300 cm; National Gallery, London, UK; French, out of copyright

Decretals (Liber sextus decretalium cum Apparatu Ionnis Andreae), copy manuscript on parchment Italy, c.1340-1345 and illuminated by the Siena painter Lippo Vanni

Face of a lady, illuminated initial letter of Decretals (Liber sextus decretalium cum Apparatu Ionnis Andreae), manuscript on parchment made in Italy

Baptism of Christ, 1450 (egg tempera on panel)
XCF372 Baptism of Christ, 1450 (egg tempera on panel) by Francesca, Piero della, (c.1415-92); 167x116 cm; National Gallery, London, UK; Italian, out of copyright

Baptism of Christ, 1450s (tempera on panel) (detail of 372)
XCF267613 Baptism of Christ, 1450s (tempera on panel) (detail of 372) by Francesca, Piero della, (c.1415-92); 167x116 cm; National Gallery, London, UK; Italian, out of copyright

Bathers at Asnieres, 1884 (oil on canvas)
XOS1109248 Bathers at AsniAšres, 1884 (oil on canvas) by Seurat, Georges Pierre (1859-91); 201x300 cm; National Gallery, London, UK; French, out of copyright

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Amidst the vibrant hues of Seurat's 'A Sunday on La Grande Jatte' and the monochromatic tones of 'Sketch for Paris, a Rainy Day,' the golden section, a mathematical proportion found in nature and art, subtly unites these masterpieces. The divine harmony of this ratio is echoed in illuminated manuscripts like the Decretals, where the face of a lady graces the initial letter with perfect balance. This timeless principle is also evident in the composition of religious works, such as the Baptism of Christ, where the figures are arranged in harmonious proportions, reflecting the harmony of the universe. Seurat's Bathers at Asnieres and the Baptism scenes, with their intricate details, further illustrate the power of the golden section in creating visually pleasing and balanced compositions.