The demolisher, Paul Signac, 1890s
Paul Signac, portretPaul SignacFrankrijk, 1863–1935

The demolisher

1890s · Painting · 251 × 150.5 cm

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Waar is „The demolisher” nu? Collectie: Musée d'Orsay, Parijs. Onbekend.

Musée d'Orsay

Parijs, Frankrijk

De eigenaar is bekend; of het werk nu te zien is, is onbekend.

Ongewijzigd sinds
Bron
Het museum

Gegevens

Inventarisnummer
AM 2735

In de catalogus

Bronnen

  • Wikidata
  • Afbeelding: Musée d'Orsay — Sailko · Public domain · Wikimedia Commons

In het leven van Paul Signac

Het hele leven
  1. 1888

    Discovering anarchist ideas

    In 1888 Signac discovers anarchist ideas by reading Élisée Reclus, Kropotkin and Jean Grave; with his friends Charles Angrand, Henri-Edmond Cross, Maximilien Luce and Camille Pissarro he contributes to Grave's paper, Les Temps Nouveaux (New Times). Politically he remains an anarchist, as were many of his friends, among them Félix Fénéon.

  2. 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.

  3. 1892

    Down the Garonne to the Mediterranean — to Saint-Tropez

    In 1892 Signac sails down the Garonne to the Mediterranean and spends time in Saint-Tropez. The Mediterranean coast becomes a major theme of his painting: each summer he leaves the capital for the south of France, for Collioure or Saint-Tropez, envisioning it as the perfect location for a future anarchist utopia.

  4. 1892

    Married: Berthe Roblès

  5. 1897

    Buying the house La Hune in Saint-Tropez

    In December 1897 the Signacs acquire a house in Saint-Tropez named La Hune, where the painter has a vast studio built; he inaugurates it on August 16, 1898. In Saint-Tropez he invites his friends to stay.

  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.

Alle werken

Uit de collectie: Musée d'Orsay

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