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| Georges Seurat Study of a Cast of the Ilisos from the Parthenon Pediment ca. 1875 drawing Musée d'Orsay, Paris |
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| Georges Seurat Académie 1877 drawing Musée d'Orsay, Paris |
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| Georges Seurat Satyr (after Poussin) and other Figures ca. 1879-80 drawing Musée des Beaux-Arts et d'Archéologie, Besançon |
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| Georges Seurat Standing Woman 1881 drawing (formerly owned by Pablo Picasso) Musée Picasso, Paris |
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| Georges Seurat On the Road ca. 1881-82 drawing Musée d'Orsay, Paris |
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| Georges Seurat The Black Bow ca. 1882 drawing Musée d'Orsay, Paris |
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| Georges Seurat The Laborer ca. 1882-83 drawing Musée d'Orsay, Paris |
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| Georges Seurat The Wall Painter ca. 1882-83 drawing Musée d'Orsay, Paris |
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| Georges Seurat The Sleeper ca. 1883 drawing Musée d'Orsay, Paris |
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| Georges Seurat Study for Bathers at Asnières 1883 oil on panel Musée d'Orsay, Paris |
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| Georges Seurat Pink Landscape 1886 oil on panel Musée d'Orsay, Paris |
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| Georges Seurat Model in Profile 1887 oil on panel Musée d'Orsay, Paris |
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| Georges Seurat Deathbed of Seurat's Aunt, Anaïs Faivre Haumonté ca. 1887 drawing Musée d'Orsay, Paris |
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| Georges Seurat Corner of the Studio - The Stove ca. 1887 drawing Musée d'Orsay, Paris |
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| Georges Seurat Scene on Stage before 1891 drawing Musée d'Orsay, Paris |
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| Georges Seurat The Veil before 1891 drawing Musée d'Orsay, Paris |
"A Parisian, Seurat studied briefly at the École des Beaux-Arts under Henri Lehmann, a pupil of Ingres, and always retained a classical sense of formal design. But he was also drawn by Delacroix's exploration of colour and, though shocked by his first sight of Impressionism in 1879, responded to the use of separate colours and the broken, all-over texture of individual touches. Yet he was also drawn to the art of Couture and of Puvis, and chose to immerse himself in colour theory and in the psychology of perception. His first known paintings are small studies of landscapes in oils on wood, fresh in colour and light, and neat in design. At the same time he invented a mode of drawing in black crayon on grainy paper that enabled him both to simplify forms and to realise them in fine variations of tone. . . . Seurat died aged 31, probably of diphtheria. One wonders how he would have continued. 1892 saw memorial shows of his work in Paris and Brussels but wider recognition of its importance was slow in coming. In 1900 his major paintings could still be acquired at knock-down prices and it was only in 1957 (Paris) and 1958 (Chicago and New York) that major retrospectives were dedicated to him. An almost complete Seurat exhibition was shown in Paris (Grand Palais) and New York (Metropolitan) in 1991-2."
– Erika Langmuir and Norbert Lynton, Yale Dictionary of Art and Artists (2000)