![]() ![]() That same year Fénéon would coin the term Neo-Impressionism to identify the revolutionary innovations that Seurat and Paul Signac were pioneering – which included the pointillist technique that Fénéon would contrast with the ‘blink-of-an-eye’ effects of the Impressionists. The exhibition includes several of Georges Seurat’s paintings, and begins with a study for “A Sunday on La Grande Jatte” (1884), his famed masterpiece, which was featured in its ultimate, monumental (10-foot wide) iteration at the 1886 exhibition of the Impressionists. As Paul Signac would proclaim: “Justice in sociology, harmony in art: same thing.” Georges Seurat: “A Sunday on La Grande Jatte” (1884) Fénéon (1861-1944) saw the critic as a channel between the artist and the public – a role which had particular significance because art could further the cause of social justice and harmony. The Museum of Modern Art is currently presenting Félix Fénéon: The Anarchist and the Avant-Garde – From Signac to Matisse and Beyond, examining the immense influence of this art critic, editor, publisher, collector and anarchist. ![]()
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