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The Pointillists have to-day almost abandoned this transitional theory which, in spite of the undeniable talent of its adepts, has only produced indifferent results as regards easel pictures. Besides Seurat and Signac, mention should be made of Maurice Denis, Henri-Edmond Cross, Angrand, and Théo Van Rysselberghe.
It is true that M. de Feure is Dutch, M. Vallotton Swiss, and M. Van Rysselberghe Belgian; but they have settled down in France, and are sufficiently closely allied to the Neo-Impressionist movement so that the question of nationality need not prevent us from mentioning them here.
M. Van Rysselberghe, a prolific and varied worker, has painted nudes, large portraits, landscapes with figures, seascapes, interiors and still-life, and in all this he evinces faculties of the first order. He is a lover of light and understands how to make it vibrate over flesh and fabrics. He is an artist who has the sense of style.
One cannot love the parti pris of these works, but one cannot deny M. Denis a great charm of naivete, an intense feeling for decorative arrangements and colouring of a certain originality. He is almost a French pre-Raphaelite, and his profound catholic faith inspires him nobly. M. Théo Van Rysselberghe continues to employ the Pointillist method.
M. Van Rysselberghe is also a very delicate etcher who has signed some fine works in this method, and his seascapes, whether they revel in the pale greys of the German Ocean or in the warm sapphire and gold harmonies of the Mediterranean, count among the finest of the time; they are windows opened upon joyous brightness.
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