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If you ever find yourself in Otterlo in the eastern Netherlands, then a visit to the Kröller-Müller Museum is a must. Set in one of the country’s largest national parks, the stylish museum and beautiful sculpture garden showcase the 19th and 20th century art collection of Helene Kröller-Muller, presented to the Dutch nation in 1938.
Part of that collection now provides a substantial chunk of the National Gallery’s first exhibition devoted to Neo-Impressionism, highlighting the revolutionary pointillist technique of an artistic movement which combined works reflecting end-of-the-century domestic, industrial and entertainment scenes, and coupled, for some of the artists, with a commitment to radical politics and social conscience.
The centrepiece of the show is Georges Seurat’s Le Chahut (a form of cancan dancing), seen for the first time in the UK. Full of exuberant, but geometric, upward thrusts of dancers, orchestra and light sources, and celebrating the entertainment of Paris nightlife and popular culture, there is also something of a sense of alienation and coldness about the painting – and the decidedly creepy image of a man in a hat looking up from the corner at the high kicking dancers. A reflection of modern life indeed. The work dominated attention when first exhibited and, like anything new, it became a prime target for critics. But this painting and the others in this exhibition, with greater emphasis on colour, light and lines, rather than subject matter, helped push the world towards ‘modern art’.
Works by Camille Pissarro, an early adopter who saw the movement as a ‘new phase in the logical march of Impressionism’, and Vincent van Gogh provide valuable context, showing how established artists engaged with Neo-Impressionist principles.
Neo-Impressionists are not always linked with the gritty socialism shown by earlier painters in the 19th century (the National had a small showing of rural painting by Jean-Francois Millet from the 1850s on at the same time). But some of these artists were not simply experimenting with the optical effects of pointillism, they were also reflecting the tough lives of many in the new industrial age. There was a link with anarchist and socialist causes, and a belief that their systematic, scientific approach to painting could contribute to a more rational and equitable society. Paul Signac, Henri-Edmond Cross, Anna Boch and Jan Toorop all feature. Toorop’s two canvasses Evening (before the Strike) and Morning (after the Strike) luminously depict the anguish and exhaustion of a family worn down by hard labour and strife.
This exhibition demonstrates why Neo-Impressionism matters. It did not portend the end of painting, as some critics claimed, by removing proper brushwork from canvasses and replacing it with a scientific technique of dots. Rather, as one contemporary fan observed, the objective application of colour theory freed these artists to take bold strides in the evolution of art, while preserving radicalism and relevance, and producing work of striking beauty and perspicuity.
If you ever find yourself in Otterlo in the eastern Netherlands, then a visit to the Kröller-Müller Museum is a must. Set in one of the country’s largest national parks, the stylish museum and beautiful sculpture garden showcase the 19th and 20th century art collection of Helene Kröller-Muller, presented to the Dutch nation in 1938.
Part of that collection now provides a substantial chunk of the National Gallery’s first exhibition devoted to Neo-Impressionism, highlighting the revolutionary pointillist technique of an artistic movement which combined works reflecting end-of-the-century domestic, industrial and entertainment scenes, and coupled, for some of the artists, with a commitment to radical politics and social conscience.
The centrepiece of the show is Georges Seurat’s Le Chahut (a form of cancan dancing), seen for the first time in the UK. Full of exuberant, but geometric, upward thrusts of dancers, orchestra and light sources, and celebrating the entertainment of Paris nightlife and popular culture, there is also something of a sense of alienation and coldness about the painting – and the decidedly creepy image of a man in a hat looking up from the corner at the high kicking dancers. A reflection of modern life indeed. The work dominated attention when first exhibited and, like anything new, it became a prime target for critics. But this painting and the others in this exhibition, with greater emphasis on colour, light and lines, rather than subject matter, helped push the world towards ‘modern art’.
Works by Camille Pissarro, an early adopter who saw the movement as a ‘new phase in the logical march of Impressionism’, and Vincent van Gogh provide valuable context, showing how established artists engaged with Neo-Impressionist principles.
Neo-Impressionists are not always linked with the gritty socialism shown by earlier painters in the 19th century (the National had a small showing of rural painting by Jean-Francois Millet from the 1850s on at the same time). But some of these artists were not simply experimenting with the optical effects of pointillism, they were also reflecting the tough lives of many in the new industrial age. There was a link with anarchist and socialist causes, and a belief that their systematic, scientific approach to painting could contribute to a more rational and equitable society. Paul Signac, Henri-Edmond Cross, Anna Boch and Jan Toorop all feature. Toorop’s two canvasses Evening (before the Strike) and Morning (after the Strike) luminously depict the anguish and exhaustion of a family worn down by hard labour and strife.
This exhibition demonstrates why Neo-Impressionism matters. It did not portend the end of painting, as some critics claimed, by removing proper brushwork from canvasses and replacing it with a scientific technique of dots. Rather, as one contemporary fan observed, the objective application of colour theory freed these artists to take bold strides in the evolution of art, while preserving radicalism and relevance, and producing work of striking beauty and perspicuity.
Far-ranging month for the Chair of the Bar
Endometriosis Awareness North, a charity raising awareness of endometriosis and supporting those affected across the North of England, has received a £500 boost from AlphaBiolabs via the company’s Giving Back initiative
Marie Law, Director of Toxicology at AlphaBiolabs, examines the most recent data on alcohol misuse in the UK, and the implications for alcohol testing in family proceedings
Clement Cowley, Partner at The Penny Group, explains how tailored financial planning can help barristers take control of their finances and plan with confidence
Marie Law, Director of Toxicology at AlphaBiolabs
A £500 donation from AlphaBiolabs has been made to the leading UK charity tackling international parental child abduction and the movement of children across international borders
Seeing the full picture – Baljit Ubhey OBE outlines the CPS action plan to tackle violence against women and girls, offering insights directly relevant to courtroom practice
Heritage as an anchor and a compass, finding our common humanity and embracing the power of the outsider – Melina Antoniadis’s lessons learnt
Is the Judicial Conduct Investigations Office process fit for purpose? Women barristers’ experiences of bullying are not being reported or, if they are, they are not making it through the system, says Tana Adkin KC
Review by Daniel Barnett
Chair of the Bar reports back
