Examining the detail of how he applied patches of paint over a period of almost fifty years reveals how his pointillism changed.
Pointillist oil paintings from the last 15 years of his life, when he mainly painted watercolours. These concentrate on ports and bridges of Paris.
He almost stopped painting in oils from 1910 until the end of the war. But his few works continued to develop his Neo-Impressionist style.
Paintings of Rotterdam and Amsterdam, followed by six weeks in Istanbul, where he painted the Golden Horn and the Süleymaniye Mosque.
After a month in Venice he had amassed 200 watercolour studies which were to keep him busy for the next two years painting shimmering views of the city.
More gorges from Edward Lear, Frederic Church, Signac, Thoma, Hodler and others, from the Alps to Iran.
The River Seine at Samois, near Fontainebleau, including a steamboat, the River Verdon flowing through the gorge at Castellane, and Mirabeau Bridge in Paris.
More fine views of Saint-Tropez, including a young woman supposedly dying of TB, an industrial Paris cityscape, and an anarchist worker.
Themes from Saint-Tropez of grand trees, fishing boats with simultaneous contrast of colours, a portrait of his wife, and an anarchist idyll.
In the early 20th century, painters started using intense colours, often raw from the tube, and those shifted to give green flesh and blue horses.