Théo van Rysselberghe (November 23, 1862 - December 14, 1926)

                                                                                                                    

The Burnished Hour

1897

Van Rysselberghe was a monumental figure during his lifetime, constantly recreating his style as new influences  came within reach. It would be an exhausting exercise to list his influences and friends, suffice it to say that nearly every group he was contemporary with, excluding his last decade or so, was very fond of having his acquaintance (in his last years he looked down on the art of figures such as Picasso). His work is some of the most vivacious of his period, especially his final nudes, which have a strong quality of life. 

Madame Theo van Rysselberghe

1907

Encampment near a Moroccan Village

c. 1888

Dario de Regoyos Playing the Guitar

1882

Figures near a Well in Morocco

1882-1883

Man at the Rudder

1892

Portrait of Marguerite van Mons

1886

In the Shade of the Pines

c. 1905

The Model's Siesta

1920

Gino Severini (April 7, 1883 – February 26, 1966)

                                                                                        

The Dance of the Pan Pan at the Monico

1911

Severini was one of the main figures in Futurism, both in terms of output and theory. Often the focus of his paintings was dancers, but there was not much formulation in their depiction, which has left us with a variety of wonderfully amusing depictions. And Severini worked in a number of styles, including in Pointillism, featured here. I can't seem to express my enthusiasm for Severini well enough, and I don't know how to remedy the fault. What can I say about him to do his art justice? Perhaps I should say that when I look at his works I most acutely feel the world of Hemingway's A Farewell to Arms; but is that enough?

Dancer

1913 

Dancer

1915-1916

Dancer

1915

Spring in Montmartre

1909

Blue Dancer

1912

Armored Train

1915

The Black Cat

1911

Henri-Edmond Cross (May 20, 1856 – May 16, 1910)

                                                                                     

The Scarab

1906-1907

Cross started off, as you can see in the earliest portraits, with experimentations in Realism (e.g. Crazy, Study) and slowly moved on to Realist-edged Impressionism (e.g. Corner of the Garden in Monaco), after having met Monet; then, after having made the acquaintance of Signac, he moved on to Pointillism (e.g. In the Woods), which he became renowned for; though, eventually, his Pointillism did morph into Fauvism (e.g. The Scarab). Among all the styles he was absolutely masterful, yet he's almost completely forgotten. Why? I seem to ask this question often. I suppose in Cross's case his pieces are absent some level of fantasy that's desired by the public, yet I can't help but feel that this is wholly balanced by the extreme level of emotion injected into his scenes and portraits; but perhaps I'm missing something in my argument. 

Crazy, Study

1883

In the Woods

1906-1907 

Flight of the Nymphs

1906

Corner of the Garden in Monaco

1884

Cape Layet (Provence)

1904

Paul Signac (November 11, 1863 – August 15, 1935)

                                                                                          

Port of La Rochelle

1921

Early in life Signac came into contact with Monet and Seurat, and his art, which before 1884 was mostly streaming towards Impressionism (as the piece below shows), took a rapid turn into Pointillism (obviously influenced more by Seurat than Monet). And, later in life, Signac used his influence to push for the appreciation of Cubism and Fauvism. As some of you may recall (a very few some, perhaps), I lightly criticized Pointillism in an earlier post on Seurat; I take it back. I suppose then, as to some extent now, I link Pointillism almost singularly with Seurat, who, as I said in the post, I am more fond of as a Realist and Impressionist. This indelible link is probably caused from my childhood encounter with Seurat's paintings, which were the first Pointillist pieces I came across, and I cannot, as best as I try, shake it form myself. Despite all of what I've said, I love Signac's works, which I think are absolutely wonderful, especially the later works that through their experimentation with colors and form created something absolutely unique and fantastical. 

Pine, St. Tropez

1892-1893

A Clipper, Asnieres

1887

Portrait of M. Félix Fénéon in 1890

1890 

Cap d'Antibes

1919

Georges Seurat (December 2, 1859 – March 29, 1891)

                                                                                        

A Sunday Afternoon on the Island of La Grande Jatte

1884

Georges-Pierre Seurat is remembered as the father of Pointillism, though he was also an immensely talented Realist and Impressionist. Actually and apocryphally, I prefer his Realism and Impressionism. I don't know why, but Pointillism as a whole never appealed to me. I can appreciate works made in that dot-dot mode, but somehow I also feel this terrible sterility flow out of that imagery. What do you feel?

Angelica Chained to the Rock

1878

The Can-Can

1889-1890

Bathers in the Water

1883

Bouquet in a Vase

1878-1879