Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890
| Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890 | |
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| Artist | Paul Signac |
| Year | 1890 |
| Catalogue | 78734 |
| Location | Museum of Modern Art, New York City |
| Accession | 85.1991 |
Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890 (French: Opus 217. Sur l'émail d'un fond rythmique de mesures et d'angles, de tons et de teintes, Portrait de M. Félix Fénéon en 1890) is an oil-on-canvas painting by French Neo-impressionist artist Paul Signac, created in 1890. The work depicts the French art critic Félix Fénéon standing in front of a swirling, kaleidoscope background. The painting's bold approach—utilizing color, pattern, and brushstroke to blend representation with abstraction—highlights a pivotal moment in Neo-Impressionism's history, influenced by the close bond between the artist and the critic. This piece is not just an iconic portrayal of Fénéon, but also acts as a visual declaration for Neo-Impressionism, grounded in nineteenth-century color theory, and signals the onset of modernism.[1]: 59 It has been in Museum of Modern Art in New York since 1991, having been donated by Mr. and Mrs. David Rockefeller. [2]
Background[edit]
Important figures[edit]
Félix Fénéon and Paul Signac met around 1884 in the vibrant milieu of Symbolist literary salons, as both were emerging into the avant-garde cultural scene. By 1886, Signac had adopted the technique of painting with tiny dots (Divisionism or Pointillism), influenced by contemporary color theories—a passion he shared with Fénéon and Georges Seurat. Central to their artistic exploration was the work of Charles Henry, whose 1885 publication Introduction à une esthétique scientifique profoundly shaped the Neo-Impressionist movement.[1]: 59–60
Motives[edit]
Signac decided to invite Fénéon for a portrait as an expression of gratitude to Fénéon.[1]: 61 Additionally, the portrait enabled Signac to display his take on Neo-Impressionism, incorporating Henry's recent concepts about the rhythms of colors and lines while synthesizing elements like sensation, sound, music, motion, lines, light, and color. [3]: 143
Conception[edit]
Signac and Fénéon started to exchange letters about the portrait in June 1890. By September 1890, Signac had envisioned a concept for the painting and invited Fénéon to come over and sit for sketches.[1]: 61
Creation[edit]
Signac rapidly created the work, relying on three preparatory studies: an oil sketch of the entire composition on wood, a small profile sketch of the head, and a gouache study of the dynamic background. These foundational drawings facilitated the execution of the painting.[1]: 61
The intriguing background of the portrait draws directly from Signac’s own collection of Japanese prints, as identified by his granddaughter Françoise Cachin. While exploring these prints, she connected the swirling patterns in the painting to a page from an album of colored woodblock designs, likely from kimono textiles. This nod to East Asian art aligns with Fénéon's appreciation for Japanese prints, which had led his friends to call him "UtagawaFénéon."[4]: 144
Composition and analysis[edit]
The work is a left profile portrait of Fénéon, with his characteristic goatee beard, wearing a brown coat with black suit and white shirt, holding a black top hat and walking cane in his left hand, and delicately a cyclamen flower in the fingers of his outstretched right hand. The angles of Fénéon's head, arm, elbow, and cane, create a zigzag pattern down the right hand side of the painting, while the curved stem and petals of the flower echo the upward curve of Fénéon's goatee.[citation needed]
The artwork is a tribute to Henry's concept of "continual-genesis," which refers to the endless creative force of the arabesque design.[5] This decorative pattern, along with its variations such as the meander, spiral, and zigzag, is prevalent across various cultures and is a common element in both tribal and ornamental art. In Opus 217, the contours of Fénéon’s nose, elbow, and walking stick form a sequence of zigzag lines.
Comments and influence[edit]
When "Opus 217" was exhibited in 1891, it sparked varied and critical reactions from the art community. Gustave Geffroy admitted to being baffled by the painting,[6] while Emile Verhaeren criticized its "cold and dry" nature, preferring Signac’s landscapes.[7] Jules Antoine found the portrait "curious" and felt the background overwhelmed Félix Fénéon's figure.[8] Camille Pissarro described it as "bizarre," lacking both decorative and emotional appeal. Even Fénéon himself was not pleased with the painting, though his view may have been influenced by modesty.[9] These responses underscore the initial skepticism towards Signac's unconventional approach in "Opus 217."
"Opus 217" profoundly impacted modern art by emphasizing the primacy of color and its relationships, ideas theorized by Charles Henry and championed by Félix Fénéon. This approach became foundational for modernism in the 20th century, influencing a diverse array of artists whom Fénéon himself would later support. These included Henri Matisse, Kees van Dongen, the Futurists, and other pivotal modernists like Vasily Kandinsky, Sonia Delaunay-Terk, Josef Albers, and Ellsworth Kelly. The painting, through its portrayal of Fénéon—who appears almost magician-like—foreshadows his ongoing role in shaping modernist art, offering a prescient glimpse of the modern era that he helped usher in.[citation needed]
See also[edit]
References[edit]
- ^ a b c d e Starr Figura, Isabelle Cahn, and Phillipe Peltier, Starr; Cahn, Isabelle; Peltier, Philippe (2020). The anarchist and the avant-garde. Museum of Modern Art.
{{cite book}}: CS1 maint: multiple names: authors list (link) - ^ Kirk Varnedoe. (1994). Masterpieces from the David and Peggy Rockefeller Collection: Manet to Picasso. New York: The Museum of Modern Art. 77-80.
- ^ "Felix Feneon, aesthete and anarchist in fin-de-siecle Paris". Choice Reviews Online. 26 (07): 26–3671-26-3671. 1989-03-01. doi:10.5860/choice.26-3671. ISSN 0009-4978.
- ^ Halperin, Joan (1988). Félix Fénéon, Aesthete and Anarchist in Fin-de-siècle Paris. Yale University Press.
- ^ Arguelles, J. (1969). Paul Signac’s “Against the Enamel of a Background Rhythmic with Beats and Angles, Tones and Colors, Portrait of M. Felix Feneon in 1890, Opus 217.”
- ^ Gustave Geffoy. (1891). Chronique artistique - Les Indépendants. La Justice 11, no. 4101.
- ^ Émile Verhaeren. (1891). Le Salon des indépendants. L’Art moderne 11, no 14.
- ^ Jules Antoine, “Exposition des artistes indépendants. La Plume 3, no. 49.
- ^ Fénéon to Jean Paulhan, “Monday evening.” (1943). Paulhan achives, Paris.
