The innovations of Impressionism were not radical enough for Georges Seurat or Paul Signac, who in the 1880s sought new ways of capturing luminosity in paint. They came up with pointillism, applying discrete daubs of colour to the canvas and letting them combine in the viewer’s eye. Although Seurat is now the better-known of the two, Signac was no less influential, especially after Seurat’s death in 1891. The Museum Barberini is following last year’s survey of Camille Pissarro with an exhibition devoted to Signac, exploring not only his experiments with colour theory but also how he incorporated his anarchist beliefs and a love of music into his paintings (until 11 October). Also on display is work by Seurat, Pissarro and lesser-known Neo-Impressionists including Théo van Rysselberghe, Jan Toorop and Anna Bloch.
Find out more from the Museum Barberini’s website.
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