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By not allowing themselves to become tempted by the charms of a brushstroke, by choosing a technique which is lacking in brilliance but conscientious and precise, the Neo-Impressionists have heeded Eugène DelacroixÊs entreaty. In order to defend these small brushstrokes, shockingly excessive for those who are incapable of sampling the The Division between Bois-Colmbes 1885 Oil on canvas, 46 x 65 cm Van Gogh Museum, Amsterdam 36 37 harmonious benefits of the results and who take pause at the novelty of this medium, let us refer to what Delacroix mentioned about the application of paint.
From afar the brushstrokes will disappear and only the luminous and harmonious effects which they procure will be perceived. Perhaps this next remark of DelacroixÊs will cause some to go to lengths to take the necessary steps required to be able to understand and judge a Divisionist painting: „For the rest, everything depends on the distance required to look at a painting. ‰ Fécamp. Sun 1886 Oil on canvas, 46 x 55 cm Jan Krugier Collection, Geneva 40 41 Delacroix tried several times to persuade those who essentially only like the smoother and less detailed paintings; those who are disconcerted by every vibrant and colourful work of art.
Furthermore, Delacroix noted the excellent results of this process: „That which gives so much finesse and lustre to paint on white paper; it is without doubt this transparency which comes from the basic white nature of paper. ‰ The Neo-Impressionists renounced the use of gilded frames, the bright garishness of which alters or destroys the agreement of the painting. They generally use white Snow in Montmartre 1887 Oil on canvas, 15 x 25 cm Private collection, USA 52 53 frames which offer an excellent link between paint and background, and which highlight colour saturation without disturbing the overall harmony.