Neo-impressionism Quotes

I don't know what to write Feneon about the theory of 'passages'. I will write him what seems to me to be the truth of the matter, that I am at this moment looking for some substitute for the dot [which was the 'heart of [w:Neo-Impressionism|Neo-Impressionist]] painting]; so far I have not found what I want, the actual execution does not seem to me to be rapid enough and does not follow sensation with enough inevitability, but it would be best not to speak of this. The fact is I would be hard put to express my meaning clearly, although I am completely aware of what I lack. (Camille Pissarro)
I was interested in achieving a creative freedom, a style that I could express with Seurat's.. ..color technique [color-divisionism], but shaped to my own needs. Proof that I found it is in my paintings of that period, among which is the famous 'Pan-Pan a Monico' [Severini painted in 1912]. My preference for Neo-Impressionism dates from those works. At times I tried to suppress it, but it always worked its way back to the surface.
Gino Severini
[Severini characterized his approach to the importance of Divisionism for Futurism as] ..a consequence of Neo-Impressionism (Seurat, Signac) and Van Gogh, Toulouse Lautrec, Degas.. [compared to that of his Milanese colleagues who works were] influenced by Jugendstil [and] a continuation of the Lombardian tradition of Segantini, Previati..
Gino Severini
Signac, definitively won over and who had just modified the paintings 'The Milliner', [1885] and 'Appreteuse et garnisseuse Modes' [exhibited in May 1886], Rue de Caire, p. 174J, following my technique at the same time as I was finishing the 'Jatte'... You'll agree that there's a nuance here and that if I was unknown in [18]85 [ Félix Fénéon did not mention Seurat in his article as leader / initiator of Neo-Impressionism I nonetheless existed, I and my vision that you have described in an impersonal fashion so superbly, aside from one or two insignificant details.
Georges Seurat
The point to be made clear is that, whatever may be our temperament, or our power in the presence of nature, we have to render what we actually see, forgetting everything that appeared before our own time. Which, I think, should enable the artist to express his personality to the full, be it large or small. Now that I am an old man, about seventy, the sensations of colour which produce light give rise to abstractions that prevent me from covering my canvas, and from trying to define the outlines of objects when their points of contact are tenuous and delicate; with the result that my image or picture is incomplete. For another thing, the planes become confused, superimposed; hence Neo-Impressionism (initiated by Seurat and Paul Signac, ed., where everything is outlined in black, an error which must be uncompromisingly rejected. And nature, if consulted, shows us how to achieve this aim.
Paul Cézanne
I have told him nothing [an art-journalist in Paris who wrote in 1887: 'Seurat sees his paternity of the theory Neo-Impressionism contested by misinformed critics and unscrupulous comrades'], but what I have always thought: the more of us [the Neo-Impressionists] there are, the less originality we will have, and the day when everyone this technique, it will no longer have any value and people will look for something new as is already happening.. .It is my right to think this and to say it, since I paint in this way [ Neo-Impressionistic ], only to find a new approach which is my own.
Georges Seurat