Paul Signac by Paul Signac
By Paul Signac
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Extra resources for Paul Signac
His repeated observations, and precepts which Neo-Impressionists strive to follow, clearly show the importance which he attached to the role of lines, for they had failed to ensure the harmony of their colours Snow. Boulevard de Clichy, Paris 1886 Oil on canvas, 46 x 65 cm Minneapolis Institute of Arts, Minneapolis 42 43 through the benefits of rhythmic arrangement and measured balance. „The influence of principal lines is immense in a composition. ‰ The Neo-Impressionist will think about complementing his linear composition, once it is determined, through a combination of direction and colour appropriate to the subject and his design, the dominants of which will vary depending on whether he wants to express joy, calm, sadness, or intermediary feelings.
The true Colourist painter, that is to say, someone who, like the Neo-Impressionists, Still Life with a Book 1885 Oil on canvas, 32 x 46 cm Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin 32 33 submits colour to the rules of harmony, will never have cause to fear seeming garish by being too colourful. He will leave the more faint-hearted to wish „not colour, but more the nuance‰ and will not fear to look for radiance and power through all possible means. ‰, and he displayed the unfortunate effect of dull and discoloured painting: „It appears that it is effectively: muddy, bleak, and lifeless.
Opus 152 1886-1887 Oil on canvas, 89 x 115 cm Museum Kröller-Müller, Otterlo 50 51 coloured brushstrokes by giving them more brilliance and freshness. Furthermore, Delacroix noted the excellent results of this process: „That which gives so much finesse and lustre to paint on white paper; it is without doubt this transparency which comes from the basic white nature of paper. ‰ The Neo-Impressionists renounced the use of gilded frames, the bright garishness of which alters or destroys the agreement of the painting.