Paul Signac, Pointillism and Anarchism

Paper Summary:

In this article, the writer notes that in the late nineteenth century, the movement known as Neo-Impressionism was influential in French art circles. The writer points out that one of its most prominent figures was the pointillist, Georges Seurat and that in 1884, as he was developing the pointillist technique for which he is largely remembered, Seurat met Paul Signac. The writer discusses that although their personalities were different, the two collaborated, with Signac regarded as secondary: talented, but overshadowed by a genius. After adopting pointillism at the inspiration of Seurat, Signac refined his technique from the fluid style which drew inspiration from the subject matter, to a controlled and refined art. In addition, the writer notes that Signac was torn between technical craft and the political movements of his day. The writer maintains that in recent years, the art community has re-examined its assessment of Signac, finding that he deserves more than the very secondary position to which he has typically been relegated.

From the Paper:

"While Signac accepted this view, Seurat did not adopt the anarchism that many Impressionists including Signac endorsed. In January 1886, Paul Alexis, a journalist and supporter of the writer Emile Zola, launched a subscription fund for the support of striking miners. Like Signac, Seurat had inherited a comfortable setting, and preferred the amenities that it provided. While he wanted more artistic freedom that the traditional ruling Salon would allow, he was not an anarchist. Seurat did not contribute to Alexis' subscription; Signac and Camille Pissarro did."
"Signac was very much aware of the complex of political currents stirring in France. After 1888, he studied the works of Elisee Reclus, Kropotkin and Jean Grave, and eventually fell into the anarchist camp at least philosophically. Despite this, he regarded himself primarily as a painter rather than a political figure, and expressed himself in paint."

Sample of Sources Used:

• Champa Kermit. "Development in Reverse," The New Criterion 20 (4), 44.
• Distel, Anne. "Portrait of Paul Signac: Yatchsman, Writer, Independent, and Revolutionary," in Marina Ferretti-Boucquillon, Anne Distel, John Leighton, and Susan Alyson Stein. Signac, 1863-1935. (New York, New York: Metropolitan Museum of Art/Yale University Press, 2001),
• Dymond, Anne. "A politicized pastoral: Signac and the cultural geography of Mediterranean France - Paul Signac - Critical Essay." The Art Bulletin. Dated June, 2003; accessed Apr. 8, 2007, available at <http://www.questia.com/ PM.qst?a=o&d=5001964429> Internet.
• Ferretti-Boucquillon, marina, Anne Distel, John Leighton, & Susan Alyson Stein. Signac, 1863-1935. (New York, New York: Metropolitan Museum of Art/Yale University Press, 2001),
• "Franco-Prussian War, 1870-71." Wars of the World. Dated Dec. 16, 2000; accessed Apr. 7, 2007; available at http:// www.onwar.com/aced/data/foxtrot/franceprussia1870.htm>. Internet.

More papers on Paul Signac, Pointillism and Anarchism:

• Analytical Essay # 133074 : "Paul Cignac, Pointillism and Anarchism"
• Persuasive Essay # 90584 : "Pope John Paul II, Faith, and Solidarity"
• Analytical Essay # 141478 : "Jean-Paul Kelly's "And Fastened To A Dying Animal"

APA Citation:

MLA Citation: