Le Pont Neuf, Paul Signac, 19th century
Paul Signac, retratoPaul SignacFrancia, 1863–1935

Le Pont Neuf

19th century · Drawing · 21.3 × 26 cm

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¿Dónde está «Le Pont Neuf» hoy? Colección: Instituto de Artes de Mineápolis, Minneapolis. No expuesta por ahora. Comprobado 29 de septiembre de 2026.

Instituto de Artes de Mineápolis

Minneapolis, Estados Unidos

Pertenece a la colección, pero ahora mismo no está expuesta.

Comprobado
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Fuente
El museo

Ficha

Número de inventario
23.50.48

En el catálogo

Fuentes

En la vida de Paul Signac

La vida entera
  1. 11 de noviembre de 1863

    Born

  2. 1884

    Meeting Georges Seurat

    In 1884 Signac meets Georges Seurat: he is struck by Seurat's systematic working methods and his theory of colors, and becomes his faithful supporter, friend and heir. Under Seurat's influence Signac abandons the short brushstrokes of Impressionism for scientifically juxtaposed small dots of pure color, meant to combine and blend not on the canvas but in the viewer's eye.

  3. 29 July 1884

    Founding the Société des Artistes Indépendants

    On July 29, 1884 the Société des Artistes Indépendants begins in Paris — among its founders are Signac, Albert Dubois-Pillet, Odilon Redon and Georges Seurat — with the motto “Neither jury nor awards.” Its annual exhibitions flourish for the next three decades and set the trends in the art of the early twentieth century, and Signac remains a guiding force in the Society.

  4. 1886

    Meeting Van Gogh in Paris

    In 1886 Signac meets Vincent van Gogh in Paris, and also Toulouse-Lautrec, a friend of Van Gogh. At first Van Gogh admires above all Signac's free painting technique.

  5. 1889

    A visit to Van Gogh in Arles

    In March 1889 Signac visits Van Gogh at Arles; he had met him in Paris in 1886 and had travelled with him to Asnières in 1887.

  6. 1898–1899

    “From Eugène Delacroix to Neo-Impressionism” appears

    In 1898–1899 Signac's programmatic work “From Eugène Delacroix to Neo-Impressionism” appears, a set of rules for the artists of the new movement: any optical mixture, he argues, leads to clarity and brilliance, any material mixture to darkening and discoloration. Henri Matisse, after reading the essay, adopts the Divisionist technique in 1898.

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