Signac. The colored harmonies.
Mercator Fund| N° d'inventaire | 23431 |
| Format | 24 x 28 |
| Détails | 176 p., publisher's hardcover. |
| Publication | Brussels, 2021 |
| Etat | Nine |
| ISBN | 9789462302785 |
A master of landscapes and the leading theoretician of Neo-Impressionism, Paul Signac (1863–1935) exerted a decisive influence on the Parisian art scene at the turn of the 20th century. Self-taught, he began his career by appropriating the Impressionist style. Following his friend Georges Seurat, in January 1886 he adopted the technique of tonal division, of which he became one of the greatest exponents, but also the most ardent defender.
The exhibition at the Musée Jacquemart-André illustrates the development of Signac's painting technique, which gradually freed itself from Seurat's theories to evolve Neo-Impressionism in the direction of an increasingly colorful pictorial expression. From his early Impressionist paintings, influenced by the art of Claude Monet, to the bold chromatic compositions of his maturity, Signac's career can be read as a conquest of color.
Featuring nearly seventy works from an exceptional private collection, the exhibition "Signac, les harmonies couleurs" (Signac, Colorful Harmonies) honors this artist, as well as other figures in Neo-Impressionism, shedding light on the history of this artistic movement. Works by Georges Seurat, Camille Pissarro, Maximilien Luce, Henri-Edmond Cross, Théo Van Rysselberghe, Louis Hayet, Achille Laugé, Georges Lacombe, and Georges Lemmen evoke the many facets of Divisionism.
Accompanying and extending the exhibition, this catalogue retraces Signac's life and his work in liberating colour, while highlighting the theoretical corpus of Neo-Impressionism, according to the interpretation of very different artistic personalities.
A master of landscapes and the leading theoretician of Neo-Impressionism, Paul Signac (1863–1935) exerted a decisive influence on the Parisian art scene at the turn of the 20th century. Self-taught, he began his career by appropriating the Impressionist style. Following his friend Georges Seurat, in January 1886 he adopted the technique of tonal division, of which he became one of the greatest exponents, but also the most ardent defender.
The exhibition at the Musée Jacquemart-André illustrates the development of Signac's painting technique, which gradually freed itself from Seurat's theories to evolve Neo-Impressionism in the direction of an increasingly colorful pictorial expression. From his early Impressionist paintings, influenced by the art of Claude Monet, to the bold chromatic compositions of his maturity, Signac's career can be read as a conquest of color.
Featuring nearly seventy works from an exceptional private collection, the exhibition "Signac, les harmonies couleurs" (Signac, Colorful Harmonies) honors this artist, as well as other figures in Neo-Impressionism, shedding light on the history of this artistic movement. Works by Georges Seurat, Camille Pissarro, Maximilien Luce, Henri-Edmond Cross, Théo Van Rysselberghe, Louis Hayet, Achille Laugé, Georges Lacombe, and Georges Lemmen evoke the many facets of Divisionism.
Accompanying and extending the exhibition, this catalogue retraces Signac's life and his work in liberating colour, while highlighting the theoretical corpus of Neo-Impressionism, according to the interpretation of very different artistic personalities.