Neo-Impressionist and their anarchism from 1890, including Maximilien Luce, Paul Signac, Henri-Edmond Cross and Théo van Rysselberghe.
Seurat
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.
Initially he applied coarser dots on areas of more even colour, used simultaneous colour contrast, then his blobs grew to become patches of paint resembling the tesserae of mosaics.
Seurat intended to use optical mixing of many tiny dots of colour, often contrasting, in Divisionism. How this worked out in his major paintings.
Among the greatest challenges in painting, cast shadows aren’t always correct. Examples from Masolino, Canaletto, Prendergast, Ravilious, Cézanne and Seurat.
Technically challenging for painstaking Divisionist techniques, those who chose to depict reflections used studies to help, and Seurat was generally optically faithful. But the best of all was Théo van Rysselberghe.
Pairs of oil studies and finished paintings by Rubens, Géricault, Constable, Frith, Seurat, Eakins, Bierstadt and Cross.
The Macchiaioli of Tuscany, James Whistler, Georges Seurat and the Australian Impressionists all like to sketch in oil on cigar boxes.
Modern and mixed media such as wax crayons, pencils, oil pastels, oil sticks and oil bars have become increasingly popular, although many age poorly and most have to be kept under glass.
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