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Updated: June 10, 2025
Monet's production had become a kind of mercerized production, and a kind of spurious radiance invested them, in the end. It remained for Pissarro, Sisley, Cézanne, and Seurat to stabilize the new discovery, and to give it the stamina it was meant to contain, as a scientific idea, scientifically applied.
Although he died as long ago as 1891 his importance has not yet been fully realized, his discoveries have not been fully exploited, not yet has his extraordinary genius received adequate recognition. Seurat may be the Giorgione of the movement.
The main current, however, has found another channel; and, unless I mistake, we are already in the second phase of the movement a phase in which the revelations of Cézanne and Seurat and the elaborations of their immediate descendants will be modified and revitalized by the pressure and spirit of the great tradition. The leader has already been chosen.
The artist Cruikshank has made several drawings of Seurat. Calvin Edson was another living skeleton. In 1813 he was in the army at the battle of Plattsburg, and had lain down in the cold and become benumbed. At this time he weighed 125 pounds and was twenty-five years old. In 1830 he weighed but 60 pounds, though 5 feet 4 inches tall.
I could stay with almost any Pissarro or Sisley I have ever seen, as I could always want any Seurat near me, just as I could wish almost any Monet out of sight because I find it submerged with emotional extravagance, too much enthusiasm for his new pet idea. Scientific appreciation had not come with scientific intentions.
But such a method of painting would seem to Seurat and Signac to be artless, primitive, unscientific, childish, presque du Louvre above all, unscientific. They would say, "Decompose the tone.
Ten pictures of yachts all in profile, all in full sail, all unrelieved by any attempt at atmospheric effect, all painted in a series of little dots! Great as was my wonderment, it was tenfold increased on discovering that only five of these pictures were painted by the new man, Seurat, whose name was unknown to me; the other five were painted by my old friend Pissaro.
My first thought went for the printer; my second for some fumisterie on the part of the hanging committee, the intention of which escaped me. The pictures were hung low, so I went down on my knees and examined the dotting in the pictures signed Seurat, and the dotting in those that were signed Pissaro.
With Pissarro and Sisley there appeared the true separation of tone, making itself felt most intelligently in the work of these men from whom the real separatists Seurat, Signac, and Cross were to realize their principle of pointilism, of which principle Seurat was to prove himself the most satisfactory creative exponent.
Many claims are put forward, but the best founded is that of Seurat; and, so far as my testimony may serve his greater honour and glory, I do solemnly declare that I believe him to have been the original discoverer of the division of the tones. A tone is a combination of colours.
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