Podcasts about post impressionist

Can you recall a time where you have created something or worked hard on a project, but decided it was the ugliest thing you have ever made? Has that train of thought led others to think the same way when they look at your projects or work? Well today we dive in deep into that very same mindset, but with the renowned Post-Impressionist artist Vincent van Goph and his painting The Night Café.

Today, we're exploring the exhibition “Post-Impressionism. Beyond Appearances” with Aisha AlAhmadi, Curatorial Assistant at Louvre Abu Dhabi. This extraordinary show brings together iconic masterpieces from the Post-Impressionist period, with exceptional loans from Musée d'Orsay, featuring works by visionary artists like Van Gogh, Cézanne, Gauguin, Seurat, and many others. But Post-Impressionism is also the fascinating story of a new generation. Join us as we learn about a group of young artists who paved the way for some of the most influential artistic movements of the 20th century by redefining the rules of art as we knew it. The exhibition “Post-Impressionism. Beyond Appearances” is on show at Louvre Abu Dhabi from 16 October 2024 to 9 February 2025. “On Show” is a podcast produced by the Louvre Abu Dhabi. Our warm thanks to Aisha AlAhmadi for her kind participation. This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Recording: Amine Kharchach.Post-production, music and mix: Making Waves.Show Cover: Sarah AlNuaimi. Artwork credits: Vincent Van Gogh, The Bedroom at Arles, 1889, Oil on canvas, Musée d'Orsay, RF 1959 2. Photo © RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski  See omnystudio.com/listener for privacy information.

William Haggas Assistant Trainer Isabella Paul looks at the chances of Post Impressionist in the Tancred Stakes.

William Haggas joined Racing Pulse after he notched another winner in Australia with Post Impressionist, who is now favourite for the Tancred Stakes this weekend. And it sounds like he is every chance of running. See omnystudio.com/listener for privacy information.

Piet Mondrian is considered an icon of modern art, but he didn't start off that way. While he always loved art, he got his degree in education. Mondrian's early paintings were somewhat traditional landscapes. He experimented with Impressionist and Post Impressionist styles, then moved on to some Cubist influence. His major breakthrough was with the De Stijl movement focusing on the basic elements of art using straight lines and primary colored rectangles. Mondrian was one of the most prominent theorists of the group as he developed a style he referred to as Neoplasticism. While I have covered Mondrian previously, I wanted to release this episode today to celebrate the publication of my first article for The Art of Education University. Check out my article in their magazine over at www.theartofeducation.edu Arts Madness 2024 links: The Brackets Spotify Playlist Prediction Form Vote in the Current Round Check out my other podcasts Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we take a quick look at Impressionist and Post-Impressionist art that was popular at the end of the 19th century. Lyndeurozone.com  Patreon If you use this podcast regularly would you please consider supporting us on Patreon for as little as a dollar a month?  The Euro Simplified Podcast has no advertising revenue and is produced by a public school teacher.  We love and appreciate our supporters on Patreon as our supporters help us meet the costs associated with the production of this free resource for students. Episodes will be released on the following schedule: Unit 1 and Unit 2 - August/September Unit 3: October Unit 4: November Unit 5: November and December Unit 6: January Unit 7: Late January & February Unit 8 : March Unit 9: April   If you have any questions you can contact Robert Lynde at Lyndeurozone.com.   Instagram: @Lyndeurozone  

In this episode, we visit the 19th century art world to look at one of the most influential art dealers of his time, Ambrose Vollard, and his relationship with one of the most important artists of the Post-Impressionist movement, Paul Cézanne. We'll take a deep dive into 19th Century art movements and explore the intriguing case of Vollard's title misunderstanding only revealed in his memoir: "Recollections of a Picture Dealer."Royalty Free Music: "Feel Good Flow" found on Adobe Stock Music

More than 100 works by Post-Impressionist painter Pierre Bonnard are coming to the NGV – and the first have been unveiled. Influential architect India Mahdavi has designed a scenography that'll feel like you've stepped into one of Bonnard's iridescent paintings, often depicting quiet scenes of domestic life and intimacy. Exhibition co-curator Meg Slater joins Around Town with the details. Then, one of Australia's most celebrated chefs, Annie Smithers, jumps on the podcast to chat through her four-month residency at the NGV's garden restaurant.  Featured on today's show:  Pierre Bonnard: Designed by India Mahdavi Annie Smithers at the NGV  New episodes of Broadsheet Melbourne Around Town drop Monday, Wednesday, Friday each week. Subscribe on the LiSTNR app to make sure you don't miss an episode. And keep up-to-date on everything Broadsheet has to offer at www.Broadsheet.com.au, or at @Broadsheet_melb. Broadsheet Melbourne Around Town is hosted by Katya Wachtel and produced by Nicola Sitch. Deirdre Fogarty is the Executive Producer.See omnystudio.com/listener for privacy information.

In this episode we take a quick look at Impressionist and Post-Impressionist art that was popular at the end of the 19th century. Lyndeurozone.com  Patreon If you use this podcast regularly would you please consider supporting us on Patreon for as little as a dollar a month?  The Euro Simplified Podcast has no advertising revenue and is produced by a public school teacher.  We love and appreciate our supporters on Patreon as our supporters help us meet the costs associated with the production of this free resource for students. Episodes will be released on the following schedule: Unit 1 and Unit 2 - August/September Unit 3: October Unit 4: November Unit 5: November and December Unit 6: January Unit 7: Late January & February Unit 8 : March Unit 9: April   If you have any questions you can contact Robert Lynde at Lyndeurozone.com.  

Women in art. What an important topic in our modern world! Learn about Gwen John, a Post Impressionist with an astonishing life story, and secrets behind her portraits of anonymous female sitters...

Randall and Chris discuss the moment the "modern" world was born, with the first abstract painting in 1910. Another slide episode. Watch the video on Youtube or Facebook or download slides here: https://mega.nz/file/ExlWgJiC#1o5JkcH5qSFZ28Fu06JIxrsEibX5sSV_mK4t9QoJ-co Topics discussed include:  Salon des Refusés Impressionism Expressionism Lord of the Rings Star Wars Arnold Schoenberg influence of photography Fauvism The Blue Rider Cubism Composition V Nude Descending a Staircase, No. 2 A Princess of Mars, 1912 H. G. Wells Bauhaus https://en.wikipedia.org/wiki/From_Bauhaus_to_Our_House https://en.wikipedia.org/wiki/Movement_(New_Order_album) Timeline  1863 -- Salon des Refusés 1903 -- The Blue Rider painted 1905 -- Fauvism coined 1906 -- Post-Impressionist coined 1910 -- Cubism coined 1910 -- FIRST ABSTRACT PAINTING 1912 -- 'A Princess of Mars' released in All-Story magazine 1913 -- Armory Show 1914 -- WWI 1919 -- Bauhaus (building house) founded  by Walter Gropius 1929 -- Buck Rodgers comic strip published 1933 -- Famous Funnies, first modern comic book published 1937 -- 'The Hobbit' published recorded March 29, 2022 Visit us at https://chrisandrandall.com/

In this episode we take a quick look at Impressionist and Post-Impressionist art that was popular at the end of the 19th century. Lyndeurozone.com  Patreon If you use this podcast regularly would you please consider supporting us on Patreon for as little as a dollar a month?  The Euro Simplified Podcast has no advertising revenue and is produced by a public school teacher.  We love and appreciate our supporters on Patreon as our supporters help us meet the costs associated with the production of this free resource for students. Episodes will be released on the following schedule: Unit 1 and Unit 2 - August/September Unit 3: October Unit 4: November Unit 5: November and December Unit 6: January Unit 7: Late January & February Unit 8 : March Unit 9: April If you have any questions you can contact Robert Lynde at Lyndeurozone.com. Instagram: @Lyndeurozone  

This is part 2 of my discussion of Henri de Toulouse-Lautrec, one of my favorite Post Impressionist painters. My guest was Joe from the Blind Knowledge Network We had a somewhat free-flowing conversation discussing At the Moulin Rouge and putting it into a bit of a historical context with technological and societal developments of the time. 

It is the birth anniversary of Post Impressionist painter Vincent Van Gogh. He created many masterpieces in a style which eventually led to Modern Art. Some of his famous works are "The Potato Eater" "the Starry Night" etc. Looking at his paintings is a bliss. Bliss is a noun which means a state of pure happiness and www.chimesradio.com http://onelink.to/8uzr4g https://www.facebook.com/chimesradio/ https://www.instagram.com/vrchimesradio/ Support the show: https://www.patreon.com/chimesradioSee omnystudio.com/listener for privacy information.

Rita Kakati-Shah is an award-winning, gender, diversity, inclusion and career strategist, speaker, mentor and advisor to Fortune 500 companies. She founded Uma in response to her personal journey of motherhood, transitioning careers and entrepreneurship, and is dedicated to empowering women and minorities around the world. Prior to Uma, Rita lead Business Development globally in CNS healthcare. She began her professional career at Goldman Sachs in London, where she was awarded the prestigious Excellence in Citizenship and Diversity Award. Rita has been featured as an expert on multiple international television and news shows, interviewed and quoted in various podcasts and publications such as the Wall Street Journal, Fast Company, Thrive Global, Dell Technology, PRWeek and iHeartRadio. Rita also hosts the popular South Asian television show, The Uma Show, on Mana TV International. She's a best-selling author, and has co-authored books on women in business, diversity and inclusion. Rita is also a trained and accomplished classical Indian dancer in the forms of Bharata Natyam and Xattriya, enjoys Post-Impressionist oil painting, is a foodie and loves trying new spots for afternoon tea around New York City, where she lives with her husband and two young children.I'm so very honoured to have such an accomplished woman on my podcast so let's get right to it!In this episode, we discuss:What motivated Rita to leave a lucrative corporate job in Investment Banking at one of the top investment firms to pursue her purpose.How skills you learn in motherhood directly translates into skills you can use running a company.The number one thing stopping women and minorities from becoming who they want to be.How Rita uses scheduling and compartmentalizing to manage her time with her family and her business.What financial freedom means to Rita and how Uma embodies the qualities of freedom as well.RESOURCESThis is the article where I first interviewed Rita.Uma websiteConnect with Rita or Uma on LinkedIn, Facebook, Instagram, Twitter, Email Uma.

This week, we learn about the Post-Impressionist artist Henri de Toulouse-Lautrec. Apologies for the audio issues at the beginning of the episode, we promise they don't last long!

This week Conor Tallon and Curator Michael Waldron are looking at Grace Henry's Claddagh Market, Galway... Around this time of the year on the 8th of December we see the beginning of the traditional Christmas shopping calendar in Ireland. Known as the Feast of the Immaculate Conception, in years past the day saw rural shoppers visiting large towns and cities.Although not essentially a Christmas scene, Claddagh Market, Galway (1916-18) by Grace Henry captures the hustle and bustle of open-air shopping in the West of Ireland. The rounded forms of women in patterned shawls contrast with the geometric shapes of the market stalls, as thatched cottages of The Claddagh can be seen in the background.The Claddagh, a fishing village across the river from Spanish Arch and Galway city, is perhaps best known today for the ring – with hands, heart, and crown – that takes its name.Scottish artist Grace Henry (1868-1953) painted Claddagh Market, Galway during the decade she spent living on Achill Island with then husband, and fellow artist, Paul Henry (1876-1958). Post-Impressionist in style, this relatively small painting modulates strong brushwork with earth tones and sparing use of bold colour.Emily Grace Mitchell (Henry) hailed from a coastal town north of Aberdeen, but was to study at the Académie Delécluse in Paris. In 1920, she was a founding member of the Society of Dublin Painters with Letitia Marion Hamilton, Paul Henry, Mary Swanzy, and Jack B. Yeats. See acast.com/privacy for privacy and opt-out information.

In this episode of the Museum of Femininity we will discuss the life of early twentieth century artist Vanessa Bell. She was a key member of the Bloomsbury Group and had a radical style, which was all about colour and form and was influenced heavily by the Post Impressionist movement. We will also discuss her interesting life including her relationship with artist Duncan Grant and the importance of her beloved house Charleston, which cemented her as an iconic interior designer as well as a pioneering artist.Instagram @themuseumoffemininity Sourceshttps://www.npg.org.uk/collections/search/person/mp00365/vanessa-bell-nee-stephen#commentshttps://www.theartstory.org/artist/bell-vanessa/life-and-legacy/https://www.britannica.com/biography/Vanessa-Bellhttps://www.tate.org.uk/art/artworks/bell-studland-beach-verso-group-of-male-nudes-by-duncan-grant-t02080https://www.charleston.org.uk/cominghome/Donate to Berwick Church https://www.berwickchurch.org.uk/bloomsbury-at-berwick.html

In episode 32 of The Great Women Artists Podcast, Katy Hessel interviews the phenomenal, Brooklyn-based artist, JULIE CURTISS!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] One of the MOST exciting artists working today, Julie is known for her bold, graphic, highly stylised and Neo-Surrealist works of faceless and fragmented women, and food. Often swept up in an eerily dreamscape, her often cropped works allow us as viewers to interpret a world beyond what we are looking at.  Working in a myriad of mediums including painting, sculpture, and gouache on paper, Julie focuses on the relationship between nature and culture, as well as exposing and reworking female archetypes through motifs of flowing hair, long nails, and high heels.  Speaking about her work she has said: "In my images, I enjoy the complementarity of humour and darkness, the uncanny and the mundane, grotesque shapes and vivid colours." Born and raised in Paris, Curtiss studied at l'Ėcole des Beaux-Arts before moving first to Japan and then to New York. She is known for referencing 18th and 19th century French painting, as well as fusing together the pop-like imagery the Chicago Imagists, reminiscent of comic books and advertising.  But in a similar manner to the Post-Impressionist painters, she mines her subjects from contemporary, everyday life, representing and exposing its curious, small details in cropped and ambiguous compositions that are erotically charged, cinematic and dreamlike in feel.  I LOVED this HIGHLY fascinating conversation with Julie. In this episode we speak about her INCREDIBLE paintings, as well as her introduction to art through posters, her upbringing in France vs life in America, advertising, Jeff Koons, obsession with technologies entering our life, darkness in cinema, FOOD, the post-war era of the housewife, the constant upkeep of appearances for women, and MANY MORE!! Further reading: https://whitecube.com/artists/artist/julie_curtiss https://antonkerngallery.com/artists/julie_curtiss ENJOY!! WORKS DISCUSSED IN THIS EPISODE Lateral Embrace  Orlando  Double Selfie MoMA Guests Further reading:  http://www.houldsworth.co.uk/exhibition-thumbnails/little-is-enough-for-those-in-love-1579801608/1 https://www.goodman-gallery.com/artists/cassi-namoda This episode is sponsored by Alighieri  https://alighieri.co.uk/ @alighieri_jewellery Use the code: TGWA for 10% off!  Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Mary Dinaburg has over 30 years of art industry experience, with extensive knowledge of the Asian art market. She is the founder of DinaburgArts LLC, providing curatorial advice and consultation for galleries, museums, institutions, and corporations, with a focus on business development and cultural branding. Her expertise also includes acquisition and de-accession of Post-Impressionist and Modern masters as well as established and emerging international Contemporary artists. Having recently returned to New York, Mary is now involved in a variety of projects both in the United States and abroad. During the 1980s, Mary served as the director of Jack Shainman Gallery. In 1993, she founded the art agency, DinaburgArts, where she not only continued her work in exhibitions and sales but also deepened her involvement in acquisitions and de-accessions. DinaburgArts was one of the first agencies to bring fine art to the fashion industry. This started with Saks Fifth Avenue when Mary developed the “Saks Project Art” program, making contemporary art an integral part of the corporation's identity and branding. Since then, DinaburgArts has worked with other brands like Hermès, and Firmenich. Additionally, Mary has consulted the Kirov Theatre in St Petersburg Russia on their cultural marketing; worked with CEC-Artslink on marketing strategies for nonprofit organizations; instituted a corporate art collection at 14 Wall Street; provided management consulting to Maison Gerard; and for three years curated Gallery W52. Mary also served as advisor and curator to the international law firm, Clifford Chance; establishing a comprehensive curatorial program intended to motivate both employees and clients, as well as broaden the firm’s cultural branding. This was achieved through revolving exhibitions, an acquisitions program, educational lectures, tours, events, and the law firm’s three-year sponsorship of The Armory Show. From 2000 onwards, Mary expanded her services into the Asian art market. Focusing her attention in South Korea and China (Shanghai, Nanjing, Beijing, and Hong Kong), Mary connected major international art galleries and artists - including Michael Werner, Sperone Westwater, Julian Schnabel, Sigmar Polke and William Wegman - with key collectors in Asia. From 2006 to 2016, Mary partnered with Howard Rutkowski to create Fortune Cookie Projects. The company played two cross-cultural roles: introducing major international artists - spanning from Impressionism and Modernism through Contemporary practitioners - to the Asian market and to bringing established and emerging artists from the Asiatic region to the West. Fortune Cookie Projects also worked with the Royal Academy of Arts (London) to establish the Encounter exhibitions in Asia and the Middle East. DinaburgArts continues to have an active presence in Asia and Europe, and having recently relocated to New York, Mary is currently working on a number of US based projects.

Offering the highest compliment an artist can give, Picasso acknowledged Paul Cézanne as the father of modernism, "the father of us all." Join our hosts as they investigate why this is, describing the Post-Impressionist's most significant paintings, his profound flattening of space and introduction of the concept of movement into the otherwise static viewing experience.

Hey y'all, Okay so let me start by saying... Who the fuck has been doing the research for all these years because they missed some serious deets about VINCENT VAN GOGH? Who cares about them anyway- we have all the dish you need from the womb to the tomb...including the hookers!Love and kisses, J&Hps. Always remember this is not Art History, this is Art Drama.

In this episode we take a quick look at Impressionist and Post-Impressionist art that was popular at the end of the 19th century.

Synthetic stimulants, like drugs and alcohol, have fueled the creativity of artists for the last hundred years, at least. Post-Impressionist painter Henri Toulouse Lautrec illustrated the swirls and spirals of the underground Parisian nightclub, The Moulin Rouge, while being swept away himself by the swirls and spirals of absinthe. However, there is no denying addiction’s dark and dangerous side. Join our hosts as they surrender to the influence of drugs and talk about its influence over artists.

We drill down into the big numbers from the Post-Impressionist and Modern sale in New York, talk to Professor Rachel Pownall about the wider market and look at a small gallery housed in Piccadilly Circus Tube station. See acast.com/privacy for privacy and opt-out information.

The Sons of the Serpent saga slithers to its conclusion as our hosts examine Defenders #25! Topics of discussion include: casual racists versus overt racists; Brian Blessed talks big; the anatomy of horses (both demonic and otherwise), Post Impressionist fisticuffs, and the debut of Elf with a Gun! All this, plus another pulse pounding installment of Hostess Twinkie Theater! You'll get a big wet crunch with every punch!

Fine art has been carefully curated with standard and expectations passed down through the generations with change coming at a glacial pace. Then, in the 1860s, a set of conditions and a cadre of artists combined to make new art and more. How can a movement be defined without any set membership, ideology, or aesthetic? Is there a place for hierarchy in paining? What the heck is Degas' whole deal? Links! Musée d'Orsay: The Impressionist Gallery The Impressionist and Post-Impressionist collections of the Art Institute of Chicago The Marmottan Monet Museum Exhibition of the Impressionists by Louis Leroy SEX ARCHIE (iTunes/Stitcher/RSS) twitter Please help our show succeed by sharing it. Send a link to someone you know and tell them what you enjoy about History Honeys. Rate and review us on iTunes, Stitcher, or whatever other platform you use to hear us. It helps so very much and we do appreciate it. You can connect with us on Facebook, Twitter, Instagram, or by emailing us at historyhoneyspodcast at gmail. The episode 24 prompt is: favorite play (or musical) based on a historical event! Logo by Marah Music by Thylacinus

Melvyn Bragg and guests David Jackson, Dorothy Rowe and Alastair Wright discuss the work of the Norwegian artist Edvard Munch, focusing on his most famous painting, The Scream.First exhibited in 1893 in Berlin, The Scream was the culmination of Munch's magnum opus, a series of paintings called The Frieze of Life. This depicted the course of human existence through burgeoning love and sexual passion to suffering, despair and death, in Munch's highly original, proto-expressionist style. His titles, from Death in the Sickroom, through Madonna to The Vampire, suggest just how directly and unironically he sought to depict the anxieties of late-19th century Europe.But against all Munch's images, it is The Scream which stands out as the work which has seared itself into the Western imagination. It remains widely celebrated for capturing the torment of existence in what appeared to many in Munch's time to be a frightening, godless world.Munch himself endured a childhood beset by illness, madness and bereavement. At 13, he was told by his father that his tuberculosis was fatal. But he survived and went on to become a major figure first in the Norwegian, then the European, avant-garde. He became involved with two of the great playwrights of the period. He collaborated with his fellow countryman Henrik Ibsen and became a close friend of the tempestuous Swede August Strindberg. He admired the work of Post-Impressionist painters such as Paul Gauguin and Vincent van Gogh and the philosophy of Friedrich Nietzsche, all of whom influenced his art. Munch's own influence resonated through the 20th century, from German Expressionism to Andy Warhol and beyond. His work, particularly The Scream, remains powerful today.David Jackson is Professor of Russian and Scandinavian Art Histories at the University of Leeds; Dorothy Rowe is Senior Lecturer in the History of Art at the University of Bristol; Alastair Wright is University Lecturer in the History of Art at St John's College, University of Oxford.

Melvyn Bragg and guests David Jackson, Dorothy Rowe and Alastair Wright discuss the work of the Norwegian artist Edvard Munch, focusing on his most famous painting, The Scream.First exhibited in 1893 in Berlin, The Scream was the culmination of Munch's magnum opus, a series of paintings called The Frieze of Life. This depicted the course of human existence through burgeoning love and sexual passion to suffering, despair and death, in Munch's highly original, proto-expressionist style. His titles, from Death in the Sickroom, through Madonna to The Vampire, suggest just how directly and unironically he sought to depict the anxieties of late-19th century Europe.But against all Munch's images, it is The Scream which stands out as the work which has seared itself into the Western imagination. It remains widely celebrated for capturing the torment of existence in what appeared to many in Munch's time to be a frightening, godless world.Munch himself endured a childhood beset by illness, madness and bereavement. At 13, he was told by his father that his tuberculosis was fatal. But he survived and went on to become a major figure first in the Norwegian, then the European, avant-garde. He became involved with two of the great playwrights of the period. He collaborated with his fellow countryman Henrik Ibsen and became a close friend of the tempestuous Swede August Strindberg. He admired the work of Post-Impressionist painters such as Paul Gauguin and Vincent van Gogh and the philosophy of Friedrich Nietzsche, all of whom influenced his art. Munch's own influence resonated through the 20th century, from German Expressionism to Andy Warhol and beyond. His work, particularly The Scream, remains powerful today.David Jackson is Professor of Russian and Scandinavian Art Histories at the University of Leeds; Dorothy Rowe is Senior Lecturer in the History of Art at the University of Bristol; Alastair Wright is University Lecturer in the History of Art at St John's College, University of Oxford.

An interview with DON ARGOTT the director of THE ART OF THE STEAL, a documentary that chronicles the long and dramatic struggle for control of the Barnes Foundation, a private collection of Post-Impressionist and early Modern art valued at more than $25 billion. In 1922, Dr. Albert C. Barnes formed a remarkable educational institution around his priceless collection of art, located just five miles outside of Philadelphia. Now, more than 50 years after Barnes' death, a powerful group of moneyed interests have gone to court for control of the art, and intend to bring it to a new museum in Philadelphia. Standing in their way is a group of Barnes' former students and his will, which contains strict instructions stating the Foundation should always be an educational institution, and that the paintings may never be removed.

Luce used landscape compositions such as Camaret, moonlight and fishing boats to explore formal issues of colour and light as well as his own political concerns. The painting depicts fishing boats at night in the protected harbour of Camaret, a small fishing village in Brittany on the Atlantic coast. It is executed in Luce’s characteristic divisionist style, distinguished by the building up of the painted surface using separate brushstrokes of colour. The artist employs varying shades of green and periwinkle blue, along with pink and yellow for the night sky. Violet, blue, turquoise and deep pink splotches, along with green and lemon-yellow strokes serve for the areas of shadowed and moonlit water. Deep blues, purples and near-blacks make up the silhouetted shapes of the fishing boats. By 1887 Luce had adopted the divisionist technique first developed by Seurat, a fellow French Neo-Impressionist artist. The technique was based on theories about colour and seeing, which asserted that the eye would blend colours juxtaposed on the canvas. The adjacency of complementary strokes of colour would produce a brilliant effect, closely approximating the appearance of natural light. This effect was well suited to Luce’s project here, of representing the luminosity of moonlight on calm water. Luce also began showing with other Neo-Impressionists in 1887, contributing to their third independent exhibition in Paris. In addition to a commitment to colour theory, Luce shared with some of these artists a dedication to the tenets of Anarchism. The form of Anarchism he endorsed was an idealistic socialism, involving precepts of social harmony and the absence of a centralised government.1His convictions included an abiding interest in the condition of the working class, whose members and places of employment occasionally appear in his paintings. Luce often portrayed modern industrial work sites as locations of strenuous labour or intrusion into the landscape.2In Camaret, moonlight and fishing boats, however, he depicts the boats as representatives of a more traditional livelihood. They are presented in a moment of quiet restfulness, fully integrated with the other elements in the scene. The repeated forms of hulls and bare masts become a decorative pattern against the variegated colours of the sea. Janeen Turk 1 Joachim Pissarro and Eliot W. Rowlands, Maximilien Luce, 1858–1941: the evolution of a Post-Impressionist, New York: Wildenstein, 1997, pp. 12–14, 20. 2 Anne-Claire Ducreux and Aline Dardel, Maximilien Luce: peindre la condition humaine, Paris: Somogy Editions d’Art 2000, pp. 72–87; Denise Bazetoux, Maximilien Luce: catalogue raisonné de l’oeuvre peint, vol. 2, Paris: Editions JBL 1986, cats 799–951, 1046–65.