This intimate scene, Morning, Interior (1890) depicts artist Maximilien Luce’s close friend, fellow painter, Neo-Impressionist Gustave Perrot getting up and dressing as morning light streams through a garret window. Luce enlivened the traditional subject of an artist in his humble living quarters with a vivid palette of red, orange, yellow and blue, applied in stippled brushstrokes, in keeping with the newly minted technique of pointillism. Little is known about Perrot, aside from the fact that he died young. In 1892, his brief career was remembered in a fifteen-work tribute held at Salon de Independants in Paris.
After visiting Marseilles in late 1905, Paul Signac proceeded to paint two canvases in his studio: one showing the entrance to the port, and this view, facing the hill surmounted by Notre-Dame-de-la-Garde, the church nicknamed the Good Mother by seamen. Bright and boldly colored, the composition reflects Signac’s contact with the artists Henri-Edmond Cross and Matisse at Saint Tropez in the summer of 1904. The rectangular strokes of unmixed pigment, arranged like tesserae (an individual tile, usually formed in the shape of a cube) in a mosaic, are Signac’s variation on the innovative painting method pioneered by Georges Seurat.
Photographed in the Metropolitan Museum of Art in NYC.