Photo By Gail
Known for his meticulous dress and unusual goatee, French art critic Félix Fénéon gained a reputation as a dandy among his peers. In this painting, whose full title is Opus 217. Against the Enamel of a background Rhythmic with Beats and Angles, Tones and Tinits, Portrait of M Félix Fénéon in 1890, Paul Signac set the critic’s static profile against a swirling background– a kaleidoscopic reference to optical theorist Charles Henry’s recently published color wheel. The wordy title is a spoof on the exceedingly long titles that Henry and his fellow scientists gave to their studies. Though Fénéon professed to dislike it, he kept the portrait for the rest of his life.
Photographed in the Museum of Modern Art in NYC.
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Photo By Gail
This still life, Bouquet of Flowers in a Vase (1890) is not mentioned in Vincent Van Gogh’s letters and has puzzled scholars as to its place in his artistic production. The subject enjoys a certain rapport with the mixed bouquet of summer flowers he made in Paris; the quasi-abstract floral wallpaper design in Berceuse of Arles , and the white porcelain vase in the Irises of Saint-Remy (both paintings also on exhibit at The Met). However, the palette and style of this painting, especially its distinctive blues and ochers and graphic, brick-shape hatchings, link it firmly with the landscapes made just prior to his death in Auvers on July 29, 1890.
Photographed in the Metropolitan Museum of Art in NYC.
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