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The Kröller-Müller Museum is a national art museum and sculpture garden, located in the Hoge Veluwe National Park in Otterlo in the Netherlands.The museum was founded by art collector Helene Kröller-Müller and opened in 1938. It has the second-largest collection of paintings by Vincent van Gogh, after the Van Gogh Museum.
Source: wikipedia.org
Soleil couchant, pêche à la sardine, Opus 221 (Adagio) de la série La Mer, les barques, Concarneau 1891 (Setting Sun. Sardine Fishing. Adagio. Opus 221, from the series The Sea, The Boats, Concarneau 1891), 1891
Paul Signac
Oil on canvas
This painting forms part of a series depicting sardine boats sailing to and from the Breton port of Concarneau at different times of the day. This evening view is radical in its pared-down simplicity, rhythmic geometry and limited palette of blues and yellows. The sense of the work's elements being orchestrated to an emotional effect is reflected in his use of the musical terms 'Opus' (work) and 'Adagio' (slow) in the picture's title. The series was exhibited in Brussels the year after it was painted*
From the exhibition
After Impressionism: Inventing Modern Art
(March – August 2023)
Explore a period of great upheaval when artists broke with established tradition and laid the foundations for the art of the 20th and the 21st centuries.
The decades between 1880 and the outbreak of the First World War in 1914 were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation.
The exhibition celebrates the achievements of three giants of the era: Paul Cézanne, Vincent van Gogh and Paul Gauguin and follows the influences they had on younger generations of French artists, on their peers and on wider circles of artists across Europe in Barcelona, Berlin, Brussels and Vienna.
With nearly a hundred works by artists ranging from Klimt and Munch, Matisse and Picasso to Mondrian and Kandinsky complemented by a selection of sculpture by artists including Rodin and Camille Claudel, the exhibition follows the creation of a new, modern art, free of convention, taking in Expressionism, Cubism and Abstraction.
[*National Gallery]
Taken in the National Gallery
An 1886 painting by Paul Signac. This one caught my eye because of how real the snow (especially the wheel tracks) felt.
Many painters affiliated with Neo-Impressionism had a profound social mission. Throughout the last quarter of the nineteenth century, sociopolitical theorists and activists, such as Jean Grave and Peter Kropotkin, sought to overturn oppressive government regimes, capitalism and the ecisting hierarchal social order. Instead, they strove to establish a harmonious relationship between society and the individual through inclusive humanitarianism, economic communism and social equality.
Such concerns and ideals are the subject of countless works by Neo-Impressionist painters, many of whom held professional relationships with leading French activists and produced illustrations for their periodicals. Although Paul Signac and Maximilien Luce pictured working-class abours in industrial French cities, Camille Pissarro painted figures living in harmony with the pastoral landscapes of Éragny. The aesthetic strategies employed by many Neo-Impressionist painters were also invested in a vision of social harmony: like neighbours working together to achieve a communal goal, distinct strokes of colour coalesce upon the Neo-Impressionist canvas to create a vibrant, unified image.
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.