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SIGNAC AND SATIE...Creating a Real World of  Irreality

The Characteristics of Vividity...

Pointillism...It's a term that trivializes the remarkable perceptive strength of Paul's work.Paul has found a place in our minds that has always been there and yet....it remains so aloof....A world of desire and peace both strong and in harmony with each other....A world of union through an immediacy and intimacy contrasted against a world of invulnerability and distance.In Paul's perceptive world we are invited in to see things as we really do see them deep in the darkest caverns of our souls and yet hardly realize it...and that beckons us in...to a world of infinite wonder and mystery.

            One of Paul's greatest achievements is to make things clear enough to us...BUT...not so clear as to take away our joy of discovery.This gift of understanding that the analytical mind and the soul require 2 completely different levels of clarity to be pleased and that means find the optimum place between the 2 to make the representation evocative.To be a Great artist of any kind or style ...it is this quality that must be possessed above all...because it is this quality that sustains our attention long after our physical eyes have removed themselves from the canvas.I would like to describe it as having the Canvas burned onto our perceptions ..but that is too forceful...indeed it is like having the most delectable and memorable breeze float over us and tickle us as we swing in our hammock under the spruce trees on a cool summer mountain twilight.

                                                   But there is more...The motion that Paul captures in his strokes is so dynamic in the gentlest of fashion that his work frequently feels like it is fluttering at slow speed in front of us.It is the contrast of this "Slow-Flutter" versus the "Still" quality which is yet another of Paul's great achievements.It is like having the contrast of two mediums,(Film and Still life),going on in our minds simultaneously...

                                                                                       Paul has a remarkable color palette.Whether using the soft pastel approach of Paintings 8and 12 in this collection...or the Brilliant colorations of Paintings 4 and 11...or the cold quasi-neutralesque pallor of Painting 12...or the Brilliant-semi-pastel appeal of Paintings 2 and 7...or the faded colorations of  Paintings 1,3,5,and 10...or the muted naturalistic colorations of  6,9,13,and 14...Paul has a remarkably varied style all within one very coherant and firmly consistent Aesthetic.   

                                                          In the end one might simply say that Paul had found some way of seeing things that is a wholly real world of dreamily evocative Irreality,and it is that place which stays with us no matter whither we go...



The Audio Track above is ''Gnossienne #1".... by Erik Satie,performed by Pascal Rogé

Paul Signac (Paris, 11 novembre 1863 - id., 15 août 1935) est un artiste-peintre français paysagiste qui donna naissance au pointillisme avec le peintre Seurat. Il a aussi mis au point la technique du divisionnisme.
Paul Signac était fils de commerçants à Paris mais son arrière-grand-père, officier de la marine à la révolution, est mort en captivité sur les pontons anglais. Enfant unique, il est très gâté par sa mère et son grand-père.
Il commence la peinture en 1882 à Montmartre, et se forme seul sous l'influence des impressionnistes.
C'est en voyant une reproduction de Claude Monet, qu'il se met sérieusement à s'intéresser à la peinture. Il écrira d'ailleurs à Monet dans sa jeunesse, dans le but d'obtenir quelques conseils de sa part.
En 1880, il interrompt ses études peu avant d'obtenir son baccalauréat. Il adhère alors à un groupuscule ; « Les harengs saurs épileptiques baudelairiens et anti-philistin », résolument anticonformiste.
Il entre ensuite dans l'atelier libre d'un peintre à Montmartre, Emile Bin.
À ses début, Signac peint surtout des vues d'Asnières-sur-Seine, où réside sa famille et où il remise un bateau. Signac a deux passions : la peinture et la navigation.
Il peint également des vues de Montmartre et fait des études de femmes.
Sa peinture est très influencée par Monet, il peint par touches distinctes, très colorées.
En 1884, Signac expose sa première œuvre au Salon des Indépendants, où il rencontre Georges Seurat, avec qui il va se lier d'amitié.
Le 30 juin 1884 est fondée la Société des artistes indépendants.
Au printemps 1886 sont exposées à New York des œuvres de Signac et de Seurat.
Signac travaille avec Seurat, avec Pissarro, avec qui il va former le groupe des « impressionnistes dits scientifiques ».
Signac peint par petites touches, par pointillés, par juxtaposition des couleurs pures. Le mélange ne se fait pas sur la palette mais dans l'œil de l'observateur.
En peignant sur les quais de Seine, vers Asnières, il rencontre Vincent van Gogh.
D'août à octobre 1887, Signac s'installe dans le midi de la France. Il achète un nouveau bateau et passe l'été 1888 sur la côte nord de la Bretagne, puis l'année suivante sur la côte méditerranéenne où il visite Cassis et rend visite à Van Gogh qui est interné à Arles.
Le 29 mars 1891, Seurat meurt à trente et un ans. Signac est sous le choc, il quitte donc Paris pour aller naviguer sur les côtes bretonnes.
Il quitte la Bretagne pour Saint-Tropez en 1892 où il s'installe une partie de l'année, avec son épouse et sa mère dont il fera le portrait. Il peint également de nombreux paysages.
Signac se caractérise par le parallélisme qu'il fait entre la musique et la peinture allant jusqu'à nommer ses toiles « La rentrée des chalutiers ...Larghetto, etc. ». Ses tableaux étaient numérotés en Opus !
Dans l'année 1893, Eugène Delacroix publie son journal. Cela pousse Signac à se mettre à l'écriture. Dès 1896, il se met alors à rédiger une étude intitulée D'Eugène Delacroix au néo-impressionnisme qui paraît en 1899.
En 1908, il devient président des indépendants, il consacre beaucoup de temps et d'énergie à cette fonction.
Signac retournera en Bretagne entre 1923 et 1929 lors de sa période aquarelles.

Paul Signac (Parigi, 11 novembre 1863 – Parigi, 15 agosto 1935) è stato un pittore francese che diede vita, assieme a Georges Seurat, al Pointillisme. Ha messo a punto anche la tecnica del Divisionismo
Signac era figlio di commercianti parigini e il suo bisnonno, ufficiale di marina durante la rivoluzione, morì in prigionia sui pontoni inglesi. Figlio unico, fu molto viziato dalla madre e dal nonno. Pochi anni dopo la sua nascita, la famiglia si trasferisce nel quartiere di Montmartre dove si trovano numerosi atelier d'artisti. A sedici anni si lega agli ambienti letterari e frequenta il cabaret Le Chat noir.
Nel 1880, interrompe i suoi studi di architettura poco prima di ottenere la maturità e aderisce ad un gruppuscolo, "Le aringhe affumicate epilettiche baudelairiane e anti-filisteo", assolutamente anticonformista. A partire da quest'anno, in occasione di una mostra di Claude Monet, scopre la sua vocazione di pittore. Egli scriverà d'altronde a Monet con lo scopo di ottenere qualche consiglio.
In seguito entra nel libero atelier di un pittore di Montmartre, Émile Bin. Frequenta esposizioni, gallerie e studia le opere degli Impressionisti, in particolare di Jean-Baptiste Guillaumin.
All'inizio, Signac dipinge soprattutto delle vedute di Asnières-sur-Seine, dove risiede la sua famiglia e dove ha in rimessaggio un'imbarcazione. Signac ha due passioni, la pittura e la navigazione alla quale fu iniziato da Gustave Caillebotte. Arriverà a possedere in totale quasi una trentina di imbarcazioni. Dipinge anche vedute di Montmartre e si dedica a studi di nudo. La sua pittura subisce l'influenza di Monet, dipinge con tocchi separati, molto colorati.
Nel 1884, Signac espone le sue opere al "Salon des artistes indépendants" che in questa occasione ospita le opere di circa 400 artisti rifiutati dal Salon officiel la cui giuria conservatrice non accetta opere di creazione innovativa. In occasione di questa mostra Signac incontra Seurat con il quale stringe amicizia e sotto la cui influenza sperimenta la giustapposizione di piccoli punti di colore puro, la mescolanza non si fa sulla tavolozza ma nell'occhio di chi guarda.
Il 30 giugno 1884 fonda con Odilon Redon e Seurat la Societé des artistes indépendants. Nella primavera del 1886 vengono esposte a New York opere di Signac e Seurat. È di quest'anno la prima serie di tele "divisées" dipinte nei dintorni di Les Andelys.
Signac lavora con Seurat, con Camille Pissarro, con i quali crea il gruppo degli "impressionisti detti scientifici".
Dipingendo sulle rive della Senna, verso Asnières, incontra Vincent Van Gogh. Da agosto a ottobre 1887, Signac si trasferisce nel sud della Francia. Acquista una nuova imbarcazione e trascorre l'estate del 1888 sulla costa nord della Bretagna, poi l'anno seguente sulla costa mediterranea e rende visita a Van Gogh, internato ad Arles. Di questo periodo sono le marine dipinte a Cassis.
Il 29 marzo 1891 Seurat muore a trent'anni, probabilmente di meningite folgorante, la stessa che avrebbe portato alla morte, dopo due settimane, il figlio. La morte di Seurat scuote profondamente Signac che lascia dunque Parigi per le coste bretoni. Nei mesi seguenti dipinge le marine di Concarneau e la Femme se coiffant, uno dei suoi capolavori.
Nel 1892 lascia la Bretagna per Saint-Tropez dove vi trascorre alcuni mesi con la moglie e la madre che ritrarrà. È un periodo importante questo perché segna una svolta nella sua opera. Scopre la tecnica dell'acquerello e a partire dal 1894 rinuncia alla pittura en plein air. Le sue opere sono sempre più colorate e le pennellate più larghe.
Signac si distingue per il parallelismo che fa tra la musica e la pittura arrivando a chiamare le sue opere «La rentrée des chalutiers (Il rientro dei pescherecci)…Larghetto ecc.» I suoi quadri numerati in Opus!
Nell'anno 1893, viene pubblicato per la prima volta ed esattamente dopo trent'anni dalla morte del suo autore Le Journal di Eugène Delacroix. La lettura di questo testo spinge Signac alla scrittura. Dal 1896, inizia a redigere uno studio intitolato D'Eugène Delacroix au néo-impressionnisme (Da Eugène Delacroix al neo-impressionismo) che esce nel 1899. Questa trattato ha molto successo e grande impatto sui giovani artisti che gli rendono visita nella sua abitazione di Saint-Tropez. Tra questi artisti c'è Henri Matisse che diventa, per un breve periodo, neo-impressionista.
Allo stesso 1896 risale la più importante[1] tra le poche opere grafiche (20 litografie e 7 acqueforti) di Signac: Les Démolisseurs, che sarà poi tradotto in un quadro tra il 1897 e il 1899.
Nel 1908, viene eletto presidente del Salon des Indépendants e dedica molto tempo ed energia a questa funzione.
Nel 1913 Signac lascia Saint-Tropez per Antibes dove vi rimane bloccato dalla guerra. È un periodo di crisi per il pittore perché vede crollare i suoi ideali pacifisti. Dipinge pochissimo fino al 1918.
Al termine della guerra riprende i suoi viaggi, ritorna in Bretagna e a Parigi dove muore il 15 agosto 1935 in seguito ad una crisi di uremia.

The Audio Track above is Gnossienne #3 by Erik Satie,performed by Daniel Varsano

СИНЬЯК Поль (1863-1935) - французский живописец,  график, теоретик искусства, общественный деятель, один из основоположников неоимпрессионизма.
Родился в состоятельной семье владельца магазина. Не получил систематического художественного образования. Творческая манера сформировалась в основном под влиянием творчества импрессионистов, в особенности К.Моне ("Предместье Парижа", 1883, Музей Орсэ, Париж; "Сен-Бриак. Крест моряков", 1885, частное собрание, Париж; "Сена в Аньере", 1885, частное собрание, Париж). После знакомства с Ж.Сёра с увлечением изучает научные работы Э.Шеврейля, Г.Л.Ф.Гельмгольца и др., посвященные закономерностям взаимоотношений света и цвета. Удостоверившись на практике, что звучание цвета усиливается, если краски не смешивать на палитре, а наносить их на холст мелкими мазками, П.Синьяк начинает писать раздельными точками чистого цвета и становится активным пропагандистом и теоретиком нового художественного метода - дивизионизма, или пуантилизма.
Главное место среди пейзажных работ П.Синьяка занимают марины с изображением средиземноморского побережья Франции.
В 1887 г. он побывал в небольшом южном городке Коллиур и написал там серию работ в новой живописной манере, отмеченных сильным влиянием Ж.Сёра ("Порт Коллиур", 1887, Государственный музей Креллер-Мюллер, Оттерло; "Вид Коллиура", 1887, частное собрание, Нью-Йорк). В них художник тонко и удивительно верно передает все особенности средиземноморского освещения, используя для этого причудливую мозаику из мелких мазков синего, фиолетового, зеленого, желтого и красного цветов.
Принимая в целом манеру Ж.Сёра, П.Синьяк тем не менее приспосабливает ее к своему видению мира, отказываясь от космического восприятия окружающей природы.
П.Синьяк всегда стоит на земле и отсюда воспринимает все происходящее, поэтому природа на его полотнах более обыденная, а потому более близкая и знакомая ("Пинии и паруса", 1896, частное собрание; "Песчаный берег моря", 1890, ГМИИ, Москва; "Лодки на солнце", 1891, частное собрание; "Красный буй", 1895, Музей Орсэ, Париж; "Сен-Тропез", 1897, Музей Аннонсиад, Сен-Тропез; "Порт Роттердама", 1907, Музей Бойманс-ван Бейнинген, Роттердам; "Марсельский порт", 1907, Эрмитаж, Санкт-Петербург; "Сосна в Сен- Тропезе", 1909, ГМИИ, Москва).
Работу в мастерской П.Синьяк предпочитал работе на открытом воздухе, считая, что техника масляной живописи мало подходит для пленэра, поэтому его акварели, выполненные на натуре, темпераментнее и живее его картин.
П.Синьяк очень много путешествовал по Франции, он побывал также в Голландии, Италии, на Корсике, в Константинополе, привозя из своих поездок работы с изображением великолепных пейзажей, увиденных глазами художника, влюбленного в жизнь ("Тартаны, разукрашенные флагами", 1893, Городской музей Вупперталь; "Папский дворец в Авиньоне", 1900, Музей Орсэ, Париж; "Константинополь.Ени-Джани", 1909, частное собрание, Брюссель).
С большой охотой и увлечением он писал Париж, его мосты, каналы, набережные - вообще все места, связанные с водой; приближаясь к окраинам, он вводил в пейзаж индустриальные мотивы, изображая заводы и их дымящиеся трубы ("Предместье Парижа", 1883, Музей Орсэ, Париж).
Так, сопоставляя в картине "Сена. Гренелль", 1899, частное собрание, Хельсинки) Эйфелеву башню и заводские трубы, он как бы говорит о существовании второго Парижа, рабочего.
Портретные работы П.Синьяка не отличаются той искренностью и непосредственностью восприятия, как его пейзажи ("Завтрак", 1886-1887, Государственный музей Креллер-Мюллер, Оттерло). Среди них выделяется "Портрет Феликса Фенеона на эмалевом фоне, ритмизованном размерами и углами, тонами и красками" (1890, частное собрание, Нью-Йорк), исполненный динамики завихряющихся орнаментальных узоров и свидетельствующий об интересе автора к проблемам монументально-прикладного искусства.

Paul Victor Jules Signac (11 de noviembre, 1863 - 15 de agosto, 1935) fue un pintor neoimpresionista francés famoso por su desarrollo de la técnica puntillista junto a Georges Seurat.
Paul Signac nació en París en 1863, en el seno de una familia de un pudiente maestro guarnicionero. Puede ser considerado pintor autodidacta. Comenzó su carrera como arquitecto, pero lo dejó a los dieciocho años para dedicarse a la pintura.
En 1882 se inscribe en la Escuela de Bellas Artes. En 1884 conoció a Monet y Georges Seurat. Quedó impresionado por los métodos de trabajo sistemáticos de Seurat y por su teoría de los colores y se convirtió en el fiel seguidor de Seurat. Bajo su influencia abandonó las cortas pinceladas del impresionismo para experimentar con los puntos de color puro, científicamente yuxtapuestos, que pretendían combinar entre sí, no mezclarse sobre el lienzo, sino en el ojo del espectador, el rasgo que define el puntillismo.
Navegó por las costas de Europa, pintando los paisajes que encontraba. Muchos de sus cuadros son de la costa francesa. Dejaba la capital todos los veranos, para permanecer en el sur de Francia, en la villa de Collioure o en Saint-Tropez, donde compró una casa a la que invitaba a sus amigos. En marzo de 1889, visitó a Vincent van Gogh en Arles. Al año siguiente hizo un pequeño viaje a Italia, viendo Génova, Florencia, y Nápoles.
Signac amaba navegar y comenzó a viajar en 1892, en un barco pequeño a casi todos los puertos de Francia, Holanda y alrededor del Mediterráneo, llegando incluso hasta Constantinopla, teniendo la base de su barco en St. Tropez, que él "descubrió". De todos esos puertos en los que estuvo, Signac llevó consigo acuarelas vibrantes y coloridas, tomadas rápidamente del natural. A partir de estos pequeños esbozos, pintó grandes lienzos en su taller, que están cuidadosamente trabajados a partir de pequeños cuadrados de color, a modo de mosaico, bastante diferentes de los pequeños puntos multicolores que previamente había usado Seurat.
También pintó escenas de ciudades francesas en sus últimos años.
Signac experimentó con varios medios. Además de pintura al óleo y acuarelas, hizo aguafuertes, litografías, y muchos esbozos a pluma y tinta compuestos de pequeños y trabajados puntos. Los neoimpresionistas influyeron en la siguiente generación: Signac inspiró, en particular, a Henri Matisse y André Derain, desempeñando de esta manera un papel decisivo en el desarrollo del Fauvismo.
Como presidente de la «Société des Artistes Indépendants» desde 1908 hasta su muerte, Signac animó a artistas más jóvenes (fue el primero que compró una pintura de Matisse) exponiendo las controvertidas obras de los fauves y de los cubistas.
El 7 de noviembre de 1892 Signac se casó con Berthe Roblès en el ayuntamiento del 18.º distrito de París; fueron testigos de boda Alexandre Lemonier, Maximilien Luce, Camille Pissarro y Georges Lecomte.

En noviembre de 1897, los Signac se trasladaron a un nuevo apartamento en el Castel Béranger, construido por Hector Guimard, y un poco más tarde, en diciembre del mismo año, adquirieron una casa en Saint-Tropez llamada La Hune; allí el pintor hizo que construyeran un gran estudio, que inauguró el 16 de agosto de 1898.
En septiembre de 1913, Signac alquiló una casa en Antibes, donde se estableció con Jeanne Selmersheim-Desgrange, quien dio a luz a su hija Ginette el 2 de octubre de 1913. Mientras tanto, Signac había dejado La Hune lo mismo que el apartamento en el Castel Beranger a Berthe: siguieron siendo amigos durante el resto de su vida.
El 6 de abril de 1927, Signac adoptó a Ginette, su hija previamente ilegítima.
A la edad de setenta y dos años, Paul Signac murió el 15 de agosto de 1935 en París de septicemia. Su cuerpo fue incinerado y, tres días más tarde, enterrado en el Cementerio de Père-Lachaise.

The Audio Track above is "Je te veux" by Erik Satie...performed by Philippe Entremont

Paul Signac (Parijs, 11 november 1863 – aldaar, 15 augustus 1935) was een Frans kunstschilder en graficus. Hij was een van de oprichters van de Salon des Indépendants (1884).
Signac begon met met schilderen in 1882. Hij werd beïnvloed door Claude Monet en Guillaumin. Hij werkte met Georges Seurat aan de theoretische grondslagen betreffende kleurwerking die het uitgangspunt vormden voor het neo-impressionisme. In deze richting paste hij het pointillisme (ook divisionisme genoemd) consequent toe. Net als Seurat mengde hij zijn kleuren alleen met wit. Signac is tot aan zijn dood overtuigd woordvoerder en uitvoerder van het Neo-Impressionisme geweest. Hij heeft naast Seurat vele kunstenaars geïnspireerd, velen hebben al na enkele jaren het pointillisme de rug toegekeerd omdat het enerzijds veel werk was en de leer vrij streng/strikt. Het pointillisme had in Frankrijk o.a. de volgende bekendste volgelingen: Camille Pissarro, Maximilien Luce, Henri Edmond Cross, Henri Le Sidaner. Belgische volgelingen: o.a. Theo Van Rijsselberghe, Georges Lemmen en Henri van de Velde. Ook in Nederland is de stroming een tijd 'in' geweest met bekende namen als o.a. Jan Toorop, Ferdinand Hart Nibbrig, Johan Joseph Aarts, Jan Vijlbrief en de mindere HP Bremmer (wel belangrijk als kunst-adviseur voor o.a. mevrouw Kroller-Müller).
Hij schilderde voornamelijk havens en schepen en werkte zowel op locatie als in zijn atelier. Van veel schilderijen werd op locatie een studie in aquarel gemaakt, soms met extra aantekeningen qua kleuruitwerkingen voor het latere schilderij. Anders dan de secuur uitgewerkte neo-impressionistische of pointillistische schilderijen zijn de aquarellen snel maar zeker virtuoos gepenseeld. Na ongeveer 1890 werd zijn pointillé wat groter neergezet. In zijn beste werken wordt door optische menging een harmonische en uitermate sterke lichtwerking verkregen.
Zijn invloed is groter dan vaak wordt gedacht. In 1904 logeerde één van de grootste en bekendste kunstenaars van de 20e eeuw bij hem in zijn villa te Saint Tropez. Deze kunstenaar, Henri Matisse was de grondlegger van het in beginsel door Neo-Impressionisme geïnspireerde Fauvisme.

Paul Signac (November 11, 1863 - August 15, 1935) was a French neo-impressionist painter who, working with Georges Seurat, helped develop the pointillist style.
Paul Victor Jules Signac was born in Paris on November 11, 1863 He started his career in architecture, but he abandoned this at the age of 18 to pursue a career as a painter. He sailed around the coasts of Europe, painting the landscapes he encountered. He also painted scenes of cities in France in his later years.
In 1884 he met Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colours and became Seurat's faithful supporter. Under his influence he abandoned the short brushstrokes of impressionism to experiment with scientifically juxtaposed small dots of pure colour, intended to combine and blend not on the canvas but in the viewer's eye, the defining feature of pointillism.
Many of Signac's paintings are of the French coast. He left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends. In March 1889, he visited Vincent van Gogh at Arles. The next year he made a short trip to Italy, seeing Genoa, Florence, and Naples.
Signac loved sailing and began to travel in 1892, sailing a small boat to almost all the ports of France, to Holland, and around the Mediterranean as far as Constantinople, basing his boat at St. Tropez, which he "discovered". From his various ports of call, Signac brought back vibrant, colourful watercolors, sketched rapidly from nature. From these sketches, he painted large studio canvases that are carefully worked out in small, mosaic-like squares of color, quite different from the tiny, variegated dots previously used by Seurat.
Signac himself experimented with various media. As well as oil paintings and watercolors he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots. The neo-impressionists influenced the next generation: Signac inspired Henri Matisse and André Derain in particular, thus playing a decisive role in the evolution of Fauvism.
As president of the Société des Artistes Indépendants from 1908 until his death, Signac encouraged younger artists (he was the first to buy a painting by Matisse) by exhibiting the controversial works of the Fauves and the Cubists.
On November 7, 1892 Signac married Berthe Roblès at the town hall of the 18th district in Paris; witnesses at the wedding were Alexandre Lemonier, Maximilien Luce, Camille Pissarro and Georges Lecomte.
In November 1897, the Signacs moved to a new apartment in the Castel Béranger, built by Hector Guimard, and a little later, in December of the same year, acquired a house in Saint-Tropez called La Hune; there the painter had a vast studio constructed, which he inaugurated on August 16, 1898.
In September 1913, Signac rented a house at Antibes, where he settled with Jeanne Selmersheim-Desgrange, who gave birth to their daughter Ginette on October 2, 1913. In the meantime Signac had left La Hune as well as the Castel Beranger apartment to Berthe: they remained friends for the rest of his life.
On April 6, 1927, Signac adopted Ginette, his previously illegitimate daughter.
At the age of seventy-two, Paul Signac died on August 15, 1935 in Paris from septicemia. His body was cremated and, three days later, August 18, buried at the Père Lachaise Cemetery.
Signac left several important works on the theory of art, among them From Eugène Delacroix to Neo-Impressionism, published in 1899; a monograph devoted to Johan Barthold Jongkind (1819-1891), published in 1927; several introductions to the catalogues of art exhibitions; and many other still unpublished writings.
Politically he was an anarchist, as were many of his friends, including Félix Fénéon and Camille Pissarro.

The Audio track above is "Nocturne" by Erik Satie...performed by Daniel Varsano

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The Audio Track above is "Sarabande". by Erik Satie...performed by Daniel Varsano

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The Audio Track above is "Gymnopedie" by Erik Satie...performed by Pascal Rogé

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Paul had a love and a fascination for Bluish-Periwinkle Purples against Greenish Golden Yellows that he visited a number of times in his subjects.Here I'm forced by the brilliantly evocative contrast of these two colors and their subordinates to bathe myself in this aura.The Color aura is so forceful that as many times as I've looked at this painting...I hardly see ...nor even want to see...anything else.I feel that it's as if God is speaking through Paul and saying..."I should have made more scenes like this in this realm"...But admitting her mistake she then compensates by giving us Paul to show us the possibility of it.

The Audio Track above is "Gymnopedie #3" by Erik Satie...performed by Pascal Rogé

A brilliant world of dynamic feelings and yet Paul contrasts this carefully by making our physical and analytical view so distant that we have to look very carefully with rapt attention.It is the contrast of this highly colored assymetrical dynamicism thrown into the midst of distance and the implied threat of removal that makes this  comfortable-scary view in our minds...so enthralling.

What a remarkable rendering! Not only is it easy to perceive the gentle and still motion of the water...but even it's quiescent sound is intimate with us here.And those steely shadows hanging over the tepid water of early Autumn framing this picture and focusing us off into the unknown horizon which contrasts the desire we have to stay here forever.Further it is a unique quality that perhaps inspired him from classical oriental landscapes that no individual is  assertively here in front of us.And YET...the presence of  our own self and humanity is so very clear to us that we don't have to even look for it.This isn't the voice of some modern male craving isolation from insecurity...rather this is a very social being in love with the human and total world of this realm that is relishing a moment of pampered peacefulness in the quiet midst therein...

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