The Cover Section Editor: M. Therese Southgate,
MD, Senior Contributing Editor.
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!
Southgate MT. Snow, Boulevard de Clichy, Paris. JAMA. 2000;284(21):2683. doi:10.1001/jama.284.21.2683
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