Au temps d'harmonie - Paul Signac
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Beschreibung
A seminal Neo-Impressionist work by Paul Signac, depicting a utopian vision of a future society through the precise application of colour dots.
Paul Signac completed this large-scale work, titled 'Au temps d'harmonie', between 1893 and 1895. The painting functions as a visual manifesto for the artist's anarchist political beliefs, depicting a utopian vision of a future society. The title, which translates to 'In the Time of Harmony', includes a subtitle asserting that the golden age lies in the future rather than the past.
The composition employs the divisionist technique, a hallmark of Neo-Impressionism. Signac applies small, distinct dots of colour that blend optically when viewed from a distance. This method creates a luminous quality across the canvas, particularly in the golden fields and the coastal horizon. The scene is populated by figures engaged in leisure and communal activities: a man reaches for fruit from a tree, a family relaxes on the grass, and others participate in games or artistic pursuits. The inclusion of a painter at an easel near the shore suggests the role of the artist within this idealised community.
Signac balances the figures across the foreground and middle ground, using the coastal geography to provide depth. The palette is carefully constructed, moving from the cool blues of the sea and sky to the warm yellows and greens of the meadow. The presence of a rooster in the foreground and the distant sailing ships reinforce the themes of pastoral peace and maritime freedom. By rejecting the chaotic reality of late nineteenth-century industrial life, Signac presents a static, serene environment where human activity is synchronised with the natural world. The work remains a primary example of how scientific colour theory was applied to express social and political ideals during the period.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Au temps d'harmonie - Paul Signac
Artist Biography
Paul Signac
Signac embraced Pointillism after encountering Seurat's *A Sunday on La Grande Jatte* in 1884. Captivated by the scientific approach to colour and light, he became a devoted follower and, later, a leading advocate of the style. Following Seurat's untimely death in 1891, Signac stepped into the role of the movement's champion, ensuring its continued influence on the avant-garde. His own works, such as *The Red Buoy* and *Antibes, Evening*, showcase his mastery of the technique, using vibrant dots of pure colour to create luminous and harmonious compositions.
Beyond his artistic output, Signac was also a dedicated writer and theorist. His book, *From Eugène Delacroix to Neo-Impressionism*, remains a seminal text on the subject, providing invaluable insights into the principles and philosophy behind Pointillism. Signac's passion for sailing also profoundly influenced his art, with many of his paintings depicting coastal scenes and harbours across France. He died in 1935, leaving behind a legacy as both a talented artist and a key intellectual force within the Neo-Impressionist movement.
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