Encouraged by contemporary writing on color theory—the treatises of Charles Henry
and Odgen Rood for example—Neo-Impressionists came to believe that separate touches of interwoven pigment result in a greater vibrancy of color in the observer’s eye than is achieved by the conventional mixing of pigments on the palette
Known as mélange optique (optical mixture)
realize a pulsating shimmer of light on the canvas
“the separated elements will be reconstituted into brilliantly colored lights.” The separation of color through individual strokes of pigment came to be known as Divisionism
while the application of precise dots of paint came to be called Pointillism
noting on a visit to Seurat’s studio the “fresh revelation of color.”
an imaginary figural landscape painted in divided brush marks of glowing color
If Neo-Impressionism ultimately marked only a brief passage from the plein-air painting of Impressionism in the nineteenth century to radiant Fauvism and the geometry of Cubism in the twentieth
it codified a language essential to modernism and brought with it a new text of independent form and color
Ferretti-Bocquillon, Marina, et al. Signac, 1863–1935. Exhibition catalogue. New Haven: Yale University Press, 2001. See on MetPublications
Herbert, Robert, et al. Georges Seurat, 1859–1891. Exhibition catalogue. New York: Metropolitan Museum of Art, 1991. See on MetPublications
“Georges Seurat (1859–1891) and Neo-Impressionism.” In Heilbrunn Timeline of Art History
http://www.metmuseum.org/toah/hd/seni/hd_seni.htm (October 2004)
More from the Timeline of Art HistoryView all
‘halle de marche’ by berranger and vincent
image © berranger and vincent architectes
a marketplace in the seaside town of pouliguen is characterized by a glazed panels that refer to the quaint shingles of the surrounding architecture. designed by french firm berranger and vincent
the market hall brings a much need social gathering area to the heart of the marina-sided historic district
the volume of the public square is enclosed by a wooden truss structure
airy space becomes more screen than building and allows users to enjoy the large scale of the the architecture with a more subtle tectonic palette
the roof plane is ‘undressed’ by the use of transparent materials and unabashed exhibition of the wooden bones of the building.
closer view of the mullioned glazing over the wooden trusses
the market’s roof allows the building to act as a light-filled screen
image courtesy of office de tourisme le pouliguen
the structure is imagined as generous public space
(left): exterior view of one of the stalls
(right): interior view shows the generously daylit interiors
image courtesy of office de tourisme le pouliguen
the market is a gathering place for the touristic seaside town
type: equipmentstatus: deliveredyear: 2012city: the pouliguenclient: city of pouliguenarea: 300 m2 subenefit: mission base + exe + details
AXOR presents three bathroom concepts that are not merely places of function
but destinations in themselves — sanctuaries of style
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French salt maker Francois Durand harvests sea salt from a salt pan in Le Pouliguen
France: Through blistering heatwaves and drought that have parched the French countryside in recent weeks
one group has emerged a reluctant winner: salt farmers in the northwestern region of Guerande
Guerande's snow-white Fleur de Sel (‘flower of salt’)
which crystallizes on the water's surface
is one of the finer salts on world markets
retailing in the United States at over $100 a kilogram
As temperatures climbed in recent months and almost inexistent rainfall turbo-charged salt water evaporation in the region
"We're heading towards record production," said producer Francois Durand
who has worked on the salt marshes for more than 20 years
Sea salt production over the last 10 years had averaged around 1.3 tonnes per salt pan but this year the yield was nearly double at 2.5 tonnes
He acknowledged that makes him one of the few short-term winners of climate change whilst parts of the country deal with wildfires and water shortages
In a region better known for its variable Atlantic weather
more than 40 days of uninterrupted sunshine and light winds has meant scant rest for those who work the salt flats
It is back-breaking labour: Under the baking sun
the workers wheel barrows along the narrow mud walls that separate each pan
scraping the sea salt from the bottom of the flats using methods and tools that have barely changed in more than four centuries
No machinery is allowed in the harvesting process
"The workers are tired," said Mathilde Bergier
"There hasn’t been enough rain on the flats to justify a break."
Bergier also worries that the intensive pace made necessary by this summer's endless sun is unsustainable
concerned that the fragile mud structures in which the seawater evaporates might not survive such rigorous work year after year
When the sun finally sets on this year’s record-breaking season
the region’s salt producers may wonder what to do with all the salt if uninterrupted hot weather becomes the norm
Several farmers told Reuters they now had reserves to cover the next couple of years
"Some have already stopped working this season," Bergier said