Signac and the independents.
Hazan| N° d'inventaire | 22877 |
| Format | 25 x 29 |
| Détails | 384 p., bound. |
| Publication | Paris, 2020 |
| Etat | Nine |
| ISBN | 9782754111379 |
A comprehensive and exceptional work on Parisian artistic life during the Belle Époque, where a cultural revolution began with the creation in Paris of a Salon des Indépendants - of which Paul Signac (1863-1935) was co-founder -, and the birth of post-impressionism (or neo-impressionism). Paris, 1900: a revolution began during the Belle Époque. "Art for all!" proclaimed the artists who exhibited "without jury or reward." Co-founder of the Salon des Indépendants, Paul Signac established himself as the theoretician of the so-called "scientific impressionists." He divided color into pure, tight patches on the canvas so that form emerged from the optical mixture: he aspired to a total art between the lost paradise of the golden age and social utopia. He defended a positivist painting, promoting a technical and political modernity. His companions spread the "pointillist" style like wildfire from Paris to Brussels: the "neos" exalt the brighter future. The artist poses as a committed intellectual, under the pen of critics such as Fénéon, at the time of the Dreyfus affair. A grandiose corpus of paintings and graphic works by Signac and the avant-gardes, from the Impressionists (Monet and Morisot) to the Fauves (Dufy, Friesz, Marquet): Symbolists (Gauguin, Mucha, Redon), Nabis (Bonnard, Denis, Lacombe, Sérusier, Ranson, Vallotton), Neo-Impressionists (Cross, Guillaumin, Luce, Pissarro, Seurat, Van Rysselberghe), witnesses of Parisian life (Anquetin, Degas, Lautrec, Picasso, Steinlen). An exceptional private collection exhibited in its entirety for the first time.
A comprehensive and exceptional work on Parisian artistic life during the Belle Époque, where a cultural revolution began with the creation in Paris of a Salon des Indépendants - of which Paul Signac (1863-1935) was co-founder -, and the birth of post-impressionism (or neo-impressionism). Paris, 1900: a revolution began during the Belle Époque. "Art for all!" proclaimed the artists who exhibited "without jury or reward." Co-founder of the Salon des Indépendants, Paul Signac established himself as the theoretician of the so-called "scientific impressionists." He divided color into pure, tight patches on the canvas so that form emerged from the optical mixture: he aspired to a total art between the lost paradise of the golden age and social utopia. He defended a positivist painting, promoting a technical and political modernity. His companions spread the "pointillist" style like wildfire from Paris to Brussels: the "neos" exalt the brighter future. The artist poses as a committed intellectual, under the pen of critics such as Fénéon, at the time of the Dreyfus affair. A grandiose corpus of paintings and graphic works by Signac and the avant-gardes, from the Impressionists (Monet and Morisot) to the Fauves (Dufy, Friesz, Marquet): Symbolists (Gauguin, Mucha, Redon), Nabis (Bonnard, Denis, Lacombe, Sérusier, Ranson, Vallotton), Neo-Impressionists (Cross, Guillaumin, Luce, Pissarro, Seurat, Van Rysselberghe), witnesses of Parisian life (Anquetin, Degas, Lautrec, Picasso, Steinlen). An exceptional private collection exhibited in its entirety for the first time.