0046 Valiant, Independent, and Harmonious: Paul Signac and Neo-Impressionism after 1900

  • Anne Dymond (Author)
    Associate Professor, Art History & Museum Studies, University of Lethbridge, Canada

    Anne Dymond is Associate Professor at the University of Lethbridge,  Canada.  She received her doctorate from Queen's University,  where her dissertation examined Provençal regionalism in museums, festivals, posters and art. Recent publications include "Displaying the Arlésienne:  Museums, Folklife and Regional Identity in France" in Folklore and Nationalism in Europe During in the Long Nineteenth Century, ed. Timothy Baycroft and David Hopkin, (Berg, 2012); "Embodying the Nation: Art, Fashion, and Allegorical Women at the 1900 Exposition Universelle," RACAR, 36.2 (2011); "Advertising Provence: Tourism, the PLM, and the Regionalist Movement," Nottingham French Studies, 50.1 (2011); "A Politicized Pastoral: Signac and the Cultural Politics of Mediterranean France," Art Bulletin, 85.2 (2003). She is currently researching gender issues in contemporary art institutions.

Identifiers (Article)


Through a close reading of Parisian art criticism around 1900, this essay examines Paul Signac's role as de facto head of the neo-impressionists and guiding spirit of the Salon des Indépendants. Signac, and the neo-impressionists generally, had suffered from the decline of the Indépendants in the latter 1890s, but the resurgence of both group and Salon in 1901 positioned Signac as one of the most significant avant-garde artists in the early 20th century, where he played a vital role in the most significant art debates then animating Paris. Their return to prominence was due in no small measure to Signac's latest foray into the decorative, a highly charged arena that would be central to the artistic debates of the first decade of the 20th century.


Paul Signac, Salon des Indépendants, neo-impressionism, art criticism, decorative, Kunstkritik