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Paul Signac
Oil on canvas
Taken in Musée d'Orsay
The Musée d'Orsay, in the Beaux-Arts former railway station of Gare d'Orsay, built 1898-1900 for the Chemin de Fer de Paris à Orléans, designed by Lucien Magne, Émile Bénard and Victor Laloux. The train services were electric, which defined the building structure and allowed a canopy rather than train shed. Until 1939 the station was the terminus for trains from the southwest, until the trains became too large for the station to support, with suburban services continuing for a bit longer. After being railway station, the building was used as a mailing centre during the war and then to process prisoners of war (returning or departing). Post-war, the building was used for various films and theatre, before coming under threat of demolition in the 1970s, and then proposed as a museum - a competition was held in 1978 and the contract awarded to ACT Architecture (Pierre Colboc, Renaud Bardon and Jean-Paul Philippon) and Gae Aulenti to design the interior. The museum was formally opened in December 1986 by President François Mitterrand.
Paris 1863 - Paris 1935
1903
Oil on canvas board
"Being a colourist is not a simple matter of planings reds, greens and yellows next to one another, without any rules or proportions. A colourist must know how to place his colours in order and to sacrifice some in order to improve others. Noise and music are not synonymous. To juxtapose colours, no matter how intense they may be, without observing contrats is like filling a child's colouring book and it is not the role of a colourist."
- Paul Signac, 1921
Imagen 114.
Hippolyte Blancard.
Boulevard de Clichy sous la neige. 1890.
En el fondo, cerrando el plano del encuadre, aparece el gran bloque donde entre otros artistas, tuvieron su taller Seurat y Signac, y también se divisa la entrada de la Rue Capron, colindante al ángulo del bulevard que aparece con restos de derribos y obras. Cabe señalar que en este ángulo se construirá el gran edificio del Hippodrome Bostock, y a su lado se abrirá paso hasta el boulevard, la Rue Cauliancourt con el nuevo Puente sobre el Cementerio de Montmartre.
‘Radical Harmony’ exhibition at the National Gallery, November 2025.
Georges Seurat's innovative painting technique had its roots in the well-established theory that opposing colours on the colour wheel - yellow and violet, orange and blue, red and green - make each other appear more vivia when juxtaposed. Through experiment and research into scientific and optical theory, Seurat determined that even greater luminosity could be achieved if pure colours remained unmixed and were applied in small touches placed side by side - the dots (points in French) that led Neo-Impressionism to be popularly known as Pointillism, a term that the artists themselves rejected. Seurat and the movement's early adopters such as Paul Signac (1863-1935) believed these separate dots of pure colour would fuse in the eye, making the surface of the canvas appear to shimmer. This effect was ideally suited to capturing glowing light in landscape.
Vehement negative reactions to the new art in 1886, some of which even suggested that the technique signified the death of painting itself, were matched by the ardour of its converts. One of these, Théo van Rysselberghe (1862-1926), invited members of the group to exhibit at the avant-garde artistic society Les XX (The Twenty) in Brussels, prompting the international dissemination of Neo-Impressionism.
Exhibitor || Fubon Art Museum 富邦美術館
Exhibition || Frontiers of Impressionism: Paintings from the Worcester Art Museum 印象派—從莫內到美國：光・跨越海洋
「印象派」（Impressionism）成為一種風格，並且被命名問世已超過150年。富邦美術館在順利開館一週年後，有幸呈現一場國際巡迴展的亞洲壓軸展出，邀請觀眾回望這改變世界觀看方式的藝術革命，以光影旅程在台北城市的核心區再次綻放，也呼應本館致力於展現對「光」的漸次解謎及實驗之路。
十九世紀末，一群巴黎畫家拋棄學院派傳統，走出畫室、奔向戶外。他們不再描繪歷史與神話，而是轉向捕捉當下—陽光灑落、水面閃爍、風起雲動，以自由奔放的筆觸、明亮透明的色彩，創造出一種全新的藝術語言。印象派的誕生，不只是繪畫技法的革新，更是一種觀看世界的全新態度，這種來自感知、心靈深處的凝視方式，至今依然動人。
本展由美國伍斯特美術館策劃。這座位於美國東部、最早擁抱印象派的美術館之一，在美國印象派收藏史上占有重要地位。本展因此得以集結38位藝術家、52件經典作品，這些作品不僅涵蓋了居住於法國的莫內、雷諾瓦、畢沙羅、卡薩特，以及塞尚、席涅克等大師，更拓展至美國的哈薩姆、梅特卡夫、蔡斯等畫家，並囊括了來自瑞典、荷蘭、比利時和德國等地的印象派藝術家，見證印象派如何跨越地域與文化，激發全球創作靈感。
其中，美國的印象派作品對台灣觀眾而言極具啟發性。這些藝術家吸收歐洲技法，並將其結合自身土地的光線、風景與文化節奏，發展出獨特的視覺語言。印象派的風格傳承在世界各地風行草偃，連在亞洲的我們都經由印象派進入現代藝術的世界。
本展包含6大跨距—時代、地域、技法、人物、邊界、創新，構築出一幅橫跨世紀與大洋的光之地圖。希望觀眾看展的同時也進行自我覺察的練習。讓我們一同透過印象派，看見時間，看見情感，也看見光如何溫柔地指引我們前行。
It has been over 150 years since the term "Impressionism" was created. In celebration of its inaugural anniversary, the Fubon Art Museum presents a special exhibition, which also serves as the final stop on this international touring exhibition in Asia. This exhibition invites the audience to reflect on this artistic revolution that reshaped human visual perception, allowing the journey of light to shine once more in the heart of Taipei.
The journey of light has been a path of liberating vision. Towards the fin de siecle, a group of Parisian painters broke away from traditional academic styles, stepping out of their studios to work outdoors. Instead of depicting historical and mythological subjects, they shifted their focus to capturing the present-cascading sunlight, shimmering water, rustling wind, and rolling clouds. Using free, unrestrained brushstrokes and vibrant, transparent colors, they created an unprecedented artistic language. The emergence of Impressionism marked not just a reform of painting techniques but also a fresh perspective on observing the world-a viewpoint rooted in perception and the depths of the soul, one that continues to resonate with us today.
This exhibition is organized by the Worcester Art Museum in the United States. Situated on the East Coast, the Worcester Art Museum ranks among the pioneers in embracing Impressionism and collecting American Impressionist painting. Featuring 38 artists and 52 iconic works, the exhibition includes pieces by masters residing in France, such as Claude Monet (1840-1926), Pierre-Auguste Renoir (1841-1919), Camille Pissarro (1830-1903), Mary Cassatt (1844-1926), Paul Cezanne (1839-1906), and Paul Signac (1863-1935). It also showcases American Impressionists such as Childe Hassam (1859-1935), Willard LeRoy Metcalf (1858-1925), and William Merritt Chase (1849-1916); features works by Impressionist artists from Sweden, the Netherlands, Belgium, and Germany, collectively demonstrating how Impressionism transcended geographical and cultural boundaries to inspire creativity worldwide.
Among these works, American Impressionist art may be less known to the Taiwanese audience, but it is highly inspiring. These artists adopted European methods while incorporating the light, landscapes, and cultural rhythm of their own environment, developing distinct visual expressions. This exhibition features six main themes - era, region, technique, figures, boundaries, and innovation - forming a radiant map of light that spans centuries and continents.
Art is a way of viewing and a practice of self-awareness. Through Impressionism, we perceive time, emotions, and the way that light gently leads us onward.
Paris 1863 - Paris 1935
1886-87
Oil on wood
"For a colour to be beautiful, it should influence its neighbour by harmonizing, with it and subduing it for their commun benefit. From this charming duo is born perfect harmony."
- Paul Signac, 1894-1895