1892 -1913 · Port, quay, terrace and pines of a neo-impressionist laboratory

Signac discovers in Saint RopTropez a port that is still isolated and makes it the center of a colorful revolution: sails, pines and facades become a solar mosaic.

In 1892, a year after Seurat's death, Paul Signac reached Saint-Tropez aboard his sailboat Olympia. The small fishing port, then difficult to access other than by sea, offered him the serenity and light he sought. He now spent a large part of the year there and bought La Hune, a house-workshop close to the water, in 1897. The Port of Saint-Tropez places sails and reflections in front of the facades and the bell tower. Saint-Tropez, the quay brings maritime activity closer to architecture. The Terrace now places sails and reflections in front of the facades and the bell tower. Saint-Tropez, the quay brings maritime activity closer to architecture. The maritime activity of the Canoubiers opens a domestic threshold towards the vegetation and the gulf, while the umbrella pines of the Canoubiers give the landscape a dark and decorative framework. After 1896, Signac worked less directly in front of the pattern. He brings together drawings and notations, often in watercolor, then builds the oils in the workshop. The touch widens into small colored rectangles, compared by his contemporaries to gems. Saint-Tropez also nourishes his great figures: Femmes au puits then Au Temps d'harmonie transform the South into a vision of a libertarian, active and peaceful society. Bonnard, Matisse and other artists came to him. Until 1913, the place remained his large laboratory where neo-impressionist rigor, pleasure of color and social ideal came together. Until 1913, the place remained his large laboratory where neo-impressionist rigor, pleasure of color and social ideal came together. Until 1913, the place remained his large laboratory where neo-impressionist rigor, pleasure of color and social ideal came together. Until 1913, the place remained his large laboratory where neo-impressionist rigor, pleasure of color and social ideal came together. Until 1913, the place remained his large laboratory where neo-impressionist rigor, pleasure of color and social ideal came together. Until 1913, the place remained his large laboratory where neo-impressionist rigor, pleasure of color and social ideal came together. Until 19 quay. His reading favors movement.

Before becoming a worldly icon, Saint Roscotropez was for Signac a promise accessible by sail: a port, a light and the idea of future harmony.