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The politics of aesthetic harmony: neo-impressionism, science, and anarchism

Neo-Impressionist scholarship of the past has focused either on the role played by scientific color theory in the creation of the characteristic divided surfaces of Neo-Impressionist paintings, or on the way in which the anarchist sympathies of the artists were squeeze outed through their choice of subdues This paper brings the stylistic and the political regards of the Neo-Impressionists together by means of re-interpreting their scientific aesthetic as an analogue to the ideal social configuration imagined by means of the anarchists. Artists and anarchists alike were intent upon creating, and justifying as "natural," conditions of aesthetic and social harmony using the laws and vocabulary of late nineteenth-century French chemistry. It was this shared scientific soil as manifested in paint and politics that provided a great deal of of the basis for their well-known mutual respect



COPYRIGHT 1991 association Art Association

COPYRIGHT 2004 Gale Group



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