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Etude pour le portrait de Mme Cross, vers 1891
Paris, musée d’Orsay, conservé au département des Arts Graphiques du musée du Louvre
© PHOTO RMN – THIERRY LE MAGE © RMN-Grand Palais (Musée d’Orsay) / DR
But while some Neo-impressionists such as Charles Angrand were enamoured with the method, others, like Paul Signac, preferred to work in watercolour. This said, a number of drawings here show that following his first meeting with Seurat, Signac also experimented with the highly specific monochrome technique.
Among the Neo-impressionists already mentioned, to whom may be added Henry Cross, Maximilien Luce and Theo Van Rysselberghe, the work of one artist, Ernest Laurent, stands out. He was a close friend of Seurat, and is best known for his portraits. He also adopted Seurat’s drawing technique – here we see the preparatory works for his painting, Scene on the Bank of a Stream which he presented at the 1884 Salon – and while he may not seem to be as strong a draughtsman as Seurat, Laurent nonetheless manages to convey on paper the effect of music on an attentive audience and to create images of great visual power.
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