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The Cover
December 6, 2000

Snow, Boulevard de Clichy, Paris

Author Affiliations
 

The Cover Section Editor: M. Therese Southgate, MD, Senior Contributing Editor.

JAMA. 2000;284(21):2683. doi:10.1001/jama.284.21.2683

Before the Place de Clichy became a Metro stop for tourists wishing to see the sails of the Moulin Rouge or eat in one of the many seafood restaurants along the Boulevard de Clichy, the area was an artists' haunt. Stretching from the Gare St Lazare to the Place de Clichy, the area as it existed toward the end of the 19th century is familiar from the works of many of the Impressionist and Neo-Impressionist painters who worked there. As the developers encroached, later artists—among them Picasso, Braque, and Gris as well as the poets Apollinaire and Max Jacob—moved slightly north and east. There, in 1900, on the side of Montmarte in the Bateau-Lavoir, they created modern art and poetry. But they did not do it alone: among the many who prepared the ground for their revolution was the Neo-Impressionist painter Paul Signac (1863-1935). Closely associated with Signac was another Neo-Impressionist, Georges Seurat, whose masterpiece Sunday Afternoon on the Island of La Grande Jatte, when it was exhibited at the eighth and last Impressionist exhibit in 1886, startled the critics and caused a sensation. Painting had become "scientific," "logical." A scandal!

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