大衆藝術網：他幫助發展創立了點彩派風格 —— 法國印象派畫家 Paul Victor Jules Signac 繪畫作品

大衆藝術網已經走進第四個年頭，

感謝不離不棄、棄而走之的新老朋友們，

愛也好，嫌也好，

藝術本身就是一種信仰、教育和奉獻，

是人生的一種責任，

是人生的一門功課，

是人生的精神世界，

是人生的共同財富。

當物質的飢餓得不到滿足時，

那藝術就什麼都不是，

當你不想打開自家的門戶時，

那世界就什麼都不是。

當你只想活在自己的世界裏，

那他人就什麼都不是。

放眼世界，人類就是一個家庭，

不分你我，共同創造，共同分享。

世上有一羣人造福着人類的精神世界，

讓我們不寂寞、不平庸、不飢餓。

大衆藝術網盡藝術的天職，

胸懷世界，爲您開啓世界之窗，

爲藝術執着而奮鬥的藝術家們點個贊！

感謝一路有您，

大衆藝術網不會孤單，纔有動力！

—— 大衆藝術網 / 應爲平（旅美油畫家、瓷畫家）

Paul Victor Jules Signac

關於畫家

Paul Victor Jules Signac（法語：[pɔlsiɲak]; 1863年11月11日 - 1935年8月15日）是一位法國新印象派畫家，與 Georges Seurat合作，幫助發展創立了點彩派（Pointillist）風格。

Paul Victor Jules Signac (French: [pɔl siɲak]; 11 November 1863 – 15 August 1935) was a French Neo-Impressionist painter who, working with Georges Seurat, helped develop the Pointillist style.

Paul Signac was born in Paris on 11 November 1863. He followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter after attending an exhibit of Monet's work. He sailed around the coasts of Europe, painting the landscapes he encountered. He also painted a series of watercolors of French harbor cities in later years.

In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colors and became Seurat's faithful supporter, friend and heir with his description of Neo-Impressionism and Divisionism method. Under Seurat's influence he abandoned the short brushstrokes of Impressionism to experiment with scientifically juxtaposed small dots of pure color, intended to combine and blend not on the canvas but in the viewer's eye, the defining feature of Pointillism. Many of Signac's paintings are of the French coast. He loved to paint the water. He left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends.

Paul Signac, Albert Dubois-Pillet, Odilon Redon and Georges Seurat were among the founders of the Société des Artistes Indépendants. The association began in Paris 29 July 1884 with the organization of massive exhibitions, with the device "No jury nor awards" (Sans jury ni récompense). "The purpose of Société des Artistes Indépendants—based on the principle of abolishing admission jury—is to allow the artists to present their works to public judgement with complete freedom". For the following three decades their annual exhibitions set the trends in art of the early 20th century.

At the 1905 Salon des Indépendants, Henri Matisse exhibited the proto-Fauve painting Luxe, Calme et Volupté. In the Divisionist technique and brightly colored, it was painted in 1904, after a summer spent working in St. Tropez on the French Riviera alongside the neo-Impressionist painters Paul Signac and Henri-Edmond Cross. The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac, which Matisse had first adopted after reading Signac's essay, d'Eugène Delacroix au Néo-Impressionnisme in 1898. Signac purchased the work after the 1905 Salon des Indépendants. In 1908 Signac was elected president of the 24th Salon des Indépendants.

In 1886 Signac met Vincent van Gogh in Paris. In 1887 the two artists regularly went to Asnières-sur-Seine together, where they painted such subjects as river landscapes and cafés. Initially, Van Gogh chiefly admired Signac’s loose painting technique. In March 1889, Signac visited Van Gogh at Arles. The next year he made a short trip to Italy, seeing Genoa, Florence, and Naples.

In 1888, Signac discovered anarchist ideas by reading Elisee Reclus, Kropotkin and Jean Grave, who all developed the ideas of anarchist communism. With his friends Angrand Cross, Maximilien Luce and Camille Pissarro he contributed to Jean Grave’s paper Les Temps Nouveaux (New Times). His financial support was considerable; he sent regular cheques and made a gift of his works for five lotteries between 1895 and 1912. Signac's 1893 painting, In the Time of Harmony was originally titled In the Time of Anarchy but political repression targeting the anarchists in France at this time forced him to change it before the work could be accepted by a gallery.

（注：轉載藝術家原文，請自行翻譯中文）

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