Fig. I. Georges Seurat, Man Leaning on a Parapet, Seen from Fig. 2. Georges Seurat, Man Leaning on a Parapet, Seen from Behind, ca. I88I. Conte crayon, squared, 9 Y4 x 5 'is in. (23.5 x Behind, ca. I88I. Pastel, squared, 9 Y2 x 6 Ys in. (24 x I5.5 em). I5 em.). Collection of jacques Rodrigues-Henriques Private collection

Two later drawings reflect the composition of the Wrightsman many writers have remarked, however, the dome is more likely picture. The first, known as Le tronc d'arbre, depicting a house seen that of the Institut de France, across the Seine from the Louvre. past a tree, has been signaled as a correlative work given the GTIAEM compositional function of the tree (H546); although dated by de Hauke to about 1883, Robert Herbert dated it 1879-81 in the catalogue of the 1991-92 retrospective exhibition. Another perti­ NOTES nent work is the study of about 1884 for Sunday on La Grande ]atte known as Man and Tree (H616; Stadtische Museum Wuppertal), I. Unpublished letters from Herbert cited in Fahy I973· 2. See Herbert in Paris, New York I99I-92, p. 27 under no. I4, where he for which the Wrightsman painting and its studies might be con­ admits that H459-see below-may date to as late as I88I. sidered a precursor. 3. The development of the picture is discussed in Anthony Blunt, Seurat (London, I965), p. 77 no. I; Fahy I973, pp. 2o6-I2; Richard Thomson, Seurat The Wrightsman picture has traditionally been called A Man (Oxford, I985), pp. 34, 39, 228 nn. 43, 44; and, most succinctly, by Robert Leaning on a Parapet (The Invalid). "The Invalid, has been under­ Herbert, in Paris, New York I99I-92, pp. 27-28 under no. I4. Michael F. Zimmermann published a related drawing in a private collection that has stood as a reference to the dome of Les Invalides, and the man not been accepted by all scholars (Seurat and the Art Theory of His Time was first called an invalid when the panel was exhibited in 1908. As [Antwerp, I99I], p. 70, fig. 98).

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