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Utilizó los colores complementarios y todo esto le hizo abrirse a una expresión en su arte que no había sospechado en Holanda. Pissarro también le explicó las nuevas teorías sobre la luz y el tratamiento divisionista de los tonos. Le artista consiguió ir añadiendo colores más ricos y luminosos a su paleta, gracias a Signac, con quien trabajó en 1887.
Painting `Le port de Rotterdam` by Paul Signac, at the First Floor of the Museum Boijmans van Beuningen, with explanation
Paris 1863 - Paris 1935
1901
Oil on canvas
On loan from a private collection
Inventory 41.2013
Signac showed this painting for the first time in 1902, at an exhibition of Neo-Impressionist works held at the Berlin Gallery of PaulCassirer. After featuring in several other exhibitions in Germany, it was purchased by Dr. Karl Bett, a fervent admirer of Matisse and a leading collector pf avant-garde art. Signac comes close to abstraction in this painting; to convey the misty morning atmosphere, he makes light his principal subject.
The Pointilist technique put to good use in this work illustrates the virtuosity with which the painter succeeded in capturing the moment. Keeping in mind the investigations of landscape made by his companion in the Neo-Impressionist venture, Seurat, who had died the entire surface of the canvas "vibrates." Under Seurat's guidance, in 1883 Signac had discovered the potential of Divisionism in respect to colour, nothing - in line with the research conducted by the chemist Eugène Chevreul - that, in terms of the way the retina causes them to be perceived visually, two dots of colour blend. With the objective of achieving the "instantaneousness" so characteristic of his future work, Signac, worked relentlessly, developing the spontaneity of his brushwork and brightening his palette.
Paul Signac. 1863-1935. Rotterdam. le Moulin. le Canal, le Matin. 1906. Kröller Müller.
Paul Signac. 1863-1935 Rotterdam. the mill. the Canal, in the morning. 1906 Kröller Müller.
Paul Signac, Paris 1863 - 1925
Das Hafenbecken von Flushing - The basin of Flushing Harbour (1896)
Pola Museum of Art, Hakone, Prefecture Kanagawa, Japan
Saint-Tropez, Musée de l'Annonciade - Paul Signac, vue de Saint-Tropez, coucher de soleil au bois de pins (1896)
In the years leading up to World War I and the close of the belle époque, the Salon des Indépendants exhibited representative works of the most important developments in the history of twentieth-century art. Among them are Expressionism, Cubism and Fauvism, movements to which the last galleries of this exhibition are primarily devoted. A group of exceptional works on paper also included here reveal these movements as manifest in the graphic arts, when experiments in figuration by avant-garde artists paved the way for the development of abstraction.
The Salons des Indépendants were interrupted by World War I. Paul Signac voiced the sentiments of its organizers at the time in a letter to the art critic Louis Vauxcelles: "As regards the Indépendants, we will refrain from exhibiting until the day when all our comrades are able to bring us their works." The Salon des Indépendants resumed after the war, providing a platform for the exhibition of successive avant-garde movements in the twentieth century, including Surrealism, Dadaism and Constructivism. In fact, the Salon des Indépendants continues to this day, although the plethora of alternative exhibitions has diminished its importance. Now, as in the time of Signac, reception of the Salon des Indéoendants is mixed. In the nineteenth and twentieth centuries, many critics believed that the lack of a juryresulted in diminished quality. Signac was certainly aware of this, but remained one of the most ardent supporters of the Salon des Indépendantsand a champion of artistic freedom until his death in 1935. To his last, he maintained that artists had to be "free to exhibit" what they like and how they like and was convinced that art had the potential to create social good.