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" "We have never heard Seurat, Cross, Luce, Van de Velde or indeed Van Rysselberghe or Angrand speak of dots. We have never seen them be preoccupied by Pointillism. Read these lines, dictated by Seurat to Jules Christophe, his biographer: 'Art is harmony; harmony is the analogy between opposites and between similar elements of tone, tint and line. By tone I mean light and dark; tint is red and its complementary: green, orange and its complementary: blue, yellow and its complementary: purple.. .The method of expression relies on the optical mixture of tones, tints and their reactions (shadows that follow very strict rules).
Paul Victor Jules Signac (11 November 1863 – 15 August 1935) was a French neo-impressionist painter who, working with Georges Seurat, helped develop the pointillist style.
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Neo-Impressionist method is an attempt is made to achieve the richness of the sunlight spectrum with all its tones. An orange that blends with yellow and red, a violet that tends toward red and blue, a green between blue and yellow are, with white the sole elements. Through mixture (in the eye of the observer) of these pure colours, whose relationship can be varied at will, from the most brilliant to the greyish. Every brush stroke that is taken from the palette remains pure on the canvas.
..it [the large painting 'Bathers at Asnieres', by Georges Seurat was painted in great flat strokes, brushed one over the other, fed by a palette composed, like Delacroix's, of pure and earthy colors. By means of these ochres and browns the picture is deadened, and appears less brilliant than those the impressionists paint with a palette limited to prismatic colors. But the understanding of the laws of contrast, the methodical separation of elements — light, shade, local color, and the interaction of colors — and their proper balance and proportion, give this canvas its perfect harmony.
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Frankly, this is my position: I have been painting for two years, and my only models have been your [ Monet's ] own works; I have been following the wonderful path you broke for us. I have always worked regularly and conscientiously, but without advice or help, for I do not know any impressionist painter who would be able to guide me, living as I am in an environment more or less hostile to what I am doing. And so I fear I may lose my way, and I beg you to let me see you, if only for a short visit. I should be happy to show you five or six studies; perhaps you would tell me what you think of them and give me the advice I need so badly, for the fact is that I have the most horrible doubts, having always worked by myself, without teacher, encouragement, or criticism.