Image Resources | Currently on View in Robert H. and Ina M. Mohlman Gallery
When Seurat first exhibited in Brussels in 1887, several progressive Belgian artists were attracted to methods. Finch was the first one to adopt Neo-Impressionism, and this landscape is one of his early efforts to use pointillist brushwork and divided color. His deft blend of geometric simplicity and gentle luminosity, accented by the image's sense of stillness and detachment, demonstrates Finch's exceptional affinity with the work of Seurat.
The unusual subject of sheep grazing amid a row of electricity poles may be the artist's wry commentary on the interaction of rural life and industrialization.
The House of the Deaf Woman and the Belfry at Eragny (La Maison de la Sourde et Le Clocher d'Eragny)
Camille Pissarro (French, 1830-1903)