Takeaway

In conclusion, it appears evident that the most noteworthy of the anarchist Neo-Impressionist artists were more inclined towards creating images of a serene, harmonious, agrarian society. The avoidance of scenes of protest, violence, and the industrial worker were extremely strategic. Although, the vagabond became a popular icon to express both the concept of extreme class divide, but also acted “as proof that one could reject bourgeois society and its constraints more or less at will, evading the rules and restrictions imposed by the dominant social and political order” (Hutton 298). Furthermore, Pissarro appeared to have been the most strategic in the negligence of certain subjects, and had a marvelous way of nullifying symbols of industrialization as well as the growing class divide. Pissarro, Seurat, and Signac, however, were all extremely influential proponents of the anarchist movement, advocating for the regression to a simpler and more ideal and harmonious past rather than the grizzly reality of the future. The Neo-Impressionist aesthetic, with its methodical and strategic application of color and the use of particular themes and symbols, became an outlet for the belief and desire for a utopian, communal, harmonious society free from the constraints which resulted from the modernization and industrialization of France.