From the exhibition Félix Fénéon (1861-1944), Les temps nouveaux, de Seurat à Matisse, on view at the Orsay museum in Paris through January 27 before moving to the Museum of Modern Art in New York next spring: Paul Signac (1863-1935), “In harmonious times: The Golden Age is not in the past, it’s in the future (retort),” 1896. Oil on canvas, 65.5 x 81 cm. Kasser Mochary Foundation, Montclair, NJ. Kasser Art Foundation. © Nikolai Dobrowolskij. Signac was the anarchist art collector, critic, and editor Fénéon ‘s principal artistic fellow traveler following the death of Georges Seurat, his co-inventor of the Neo-Impressionist (also known as Pointilist or Divisionist) movement.
From the exhibition Félix Fénéon (1861-1944). Les temps nouveaux, de Seurat à Matisse, playing at the Orsay museum in Paris through January 27 before moving to the Museum of Modern Art in New York next spring: Georges Seurat (1859-1891), “Poseuse de face,” 1887. Oil on wood, 25.0 x 15.8 cm. Paris, musée d’Orsay. © RMN-Grand Palais (musée d’Orsay) / Adrien Didierjean. In “Seurat” (Editions Cercle d’Art, Paris, and Harry N. Abrams, New York, 1969), Pierre Courthion writes of this work (whose dimensions he gives as 26 x 17.2 cm), in part: “… the artist lets us see that he’s hardly thinking at all about the person who’s standing before him nude, unless it’s to transform her by who knows what phenomenon of visual ‘manducation’ into a new form, girl of his creation, one of the columns of this temple which is for him the tableau.” For more on ‘manducation’ from another perspective, click here.