pointillism

Pointillism is a painting technique developed in the 1880s in Paris by Georges Seurat and refined by Paul Signac. It is commonly described as a branch of Neo-Impressionism. The method uses small, distinct dots of pure color applied in patterns to form an image. Instead of mixing pigments on a palette, the painter relies on optical color mixing: when viewed from a distance, adjacent dots of different hues blend in the viewer’s eye to produce new tones and luminous effects.

Technique and aims: Seurat and Signac treated color as a systematic material, arranging dots of pure color so that the eye blends them into a fuller spectrum. They worked in oils on canvas, often with careful, repeatable brushwork and lengthy preparatory planning to structure the composition. The approach is closely linked with divisionism, the idea of separating color into discrete elements and placing them side by side rather than mixing on the surface.

Notable works and artists: Seurat’s A Sunday Afternoon on the Island of La Grande Jatte and Bathers at Asnières are among the best-known examples of the method. Signac’s coastal scenes, such as Port of Saint-Tropez, helped popularize the technique. Other Neo-Impressionists associated with pointillism include Henri-Edmond Cross, Charles Angrand, and Maximilien Luce.

Reception and legacy: Pointillism drew both interest and criticism within the broader Impressionist milieu. By the late 1880s the movement waned as artists pursued different directions, but its emphasis on color theory, systematic procedure, and optical effects influenced later modern painting and discussions of perception in art.