Neo-Impressionist and their anarchism from 1890, including Maximilien Luce, Paul Signac, Henri-Edmond Cross and Théo van Rysselberghe.
Neo-Impressionism
The close group of Neo-Impressionists were also anarchists. This traces their politics in paintings by Paul Signac and Camille Pissarro, including a portrait of Félix Fénéon, later suspected of bombing a restaurant.
Initially his Pointillist views used fine dots and contrasting colours. Over time he explored limited palettes, increasing size of marks, and smooth transitions.
Taught by Corot, he became an almost compulsive painter of trees and a central figure among the French Impressionists. He later became Pointillist, peaking in 1891, but ceased painting outdoors in his final years.
In 1880, a detailed realist, he then became more experimental with looser brushstrokes before adopting Divisionism in 1887. His later paintings took over from where van Gogh left off.
By the start of the 20th century, he had abandoned Neo-Impressionist for Post-Impressionism, and continued painting well after the First World War.
He started as an Impressionist before joining the Neo-Impressionists. Specialising in industrial landscapes and nocturnes, here are paintings from the first half of his life.
In the last decade of his career, he visited Venice twice and painted it extensively. He also turned more to watercolours.
A pupil of Carol’s-Duran, he switched to Divisionism/Pointillism in 1891, when Georges Seurat died. Early paintings are gentle and delicate before he turned the chroma up.
For this final decade, he was prolific, painting a series of ports of France in 1929-31, and many other views of the coast of France and of Corsica.
