Neo-Impressionist and their anarchism from 1890, including Maximilien Luce, Paul Signac, Henri-Edmond Cross and Théo van Rysselberghe.
Signac
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.
Popular in ancient times, those in Ravenna inspired Klimt. Luc-Olivier Merson and Elihu Vedder created their own, Sichulski imitated them, and Signac used similar patches of paint.
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.
In the weaving contest between Arachne and Minerva, used by the Fates, cropped to weaken Samson, in the Annunciation, or simply for cutting.
An eclectic range from LA Ring’s fine realism, Paul Signac’s Pointillism and watercolours, Pierre Bonnard in Le Midi, to Marsden Hartley and Lesser Ury.
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.
Some of the most famous Impressionist paintings celebrated their role and their distinctive beauty, and how they show Mondrian becoming modern.
The Eclectic Light Company 