[SIGNAC (Paul)]. -FÉNÉON (Félix). Signed autograph manuscrip - Lot 38

Lot n° 38
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[SIGNAC (Paul)]. -FÉNÉON (Félix). Signed autograph manuscrip - Lot 38
[SIGNAC (Paul)]. -FÉNÉON (Félix). Signed autograph manuscript entitled "Paul Signac". 7pp. in-folio. Article published on September 1, 1891 in No. 57 of the magazine LaPlume, with a few variants. "...What concerns his technique is as follows: in an ensemble, the coloration of a surface, even if monochrome and flat, varies continuously through the gradation of contrasts due to neighboring surfaces. It would be disappointing to discount the phenomenon that occurs in reality - that is, having reproduced on canvas the coloring of each of the surfaces in the set with its own color, leaving the contiguous surfaces to disrupt this coloring: contrasts, favored by bright light and brilliant, saturated colors, will scarcely occur between our dull coloring matter in the poor lighting of a gallery. The painter will therefore objectify his sensations: he will paint contrasts (as well as the effects of irradiation). If he prepares on his palette, by mixing pigments, the coloration corresponding to the one he wants to render: (a ail will fail to obtain a delicate gradation, a delicate modeling; (bany mixture of pigments aspiring to black, he will paint with mud, when the ideal would be to paint the spectrum. But if he dissociates the elements of coloration, expresses each of them in a tiny pullulating speck and juxtaposes the specks of the various series, these specks will behave like the physicist's rotating Muschenbroeck plates: and the eye, three steps away, will perceive their optical mixture. From this division, towards which Impressionism was moving and whose codification Seurat precipitated, result: (aconstant change, possible point to point, of the painted surface; (bluminosity of the mixture however numerous its components, -since the sum of the color-lights would give white...). Paul Signac] has always subordinated each of his compositions to the character of a dominant direction, and emphasized its supremacy through the opposition of accessory lines: more by intuition than by principle... Man, animals, even plants and clouds are rare in his canvases. He delights in the geometry of piers and semaphores; he is the painter of the physiognomy and alliance of boats... Above all, he loves the firmamental immensities where worried hues slowly fade, merge and mingle; his works, of untouched originality, are the blossoming of a harmonious and serenely melancholy dream in light, and his destiny would be over if he spent a few years in Saharan Africa between sand and sky...".
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