Neo-Impressionism makes its thoroughly Modernist point at National Gallery in London

"Neo-Impressionism has a history of being underappreciated. When it emerged in the late 19th century, with its mechanical, dot-based, "pointillist" technique, some critics claimed it heralded the death of painting. Since then, it has failed to maintain the brand recognition of its forebear, Impressionism, and has often been associated mainly with its French protagonists Georges Seurat and Paul Signac. An exhibition at the National Gallery in London will redress this imbalance, showing Neo-Impressionism as a truly radical precursor to abstraction and Fauvism."

"The centrepiece of Kröller-Müller's collection-and the London show-will be Seurat's Le Chahut (1889-90), which depicts a lively group of dancers performing the can-can, surrounded by musicians and a transfixed crowd. The work, composed of tiny dabs of red, blue, green and more, epitomises "optical mixture"-the idea that colours painted beside each other would blend in the eye, increasing their intensity and effect."

Neo-Impressionism emerged in the late 19th century using a mechanical, dot-based pointillist technique that prompted some critics to predict the death of painting. The movement failed to retain the broad recognition of Impressionism and became closely associated with Georges Seurat and Paul Signac. A London exhibition repositions Neo-Impressionism as a radical precursor to abstraction and Fauvism and as an international Modern art movement. The show brings 58 works from the Kröller-Müller Museum, centering on Seurat's Le Chahut (1889–90), which exemplifies optical mixture through tiny dabs of color. Helene Kröller-Müller built the collection over two decades for public enjoyment.

Read at The Art Newspaper - International art news and events