Untitled

Using lithographic stone, Signac applied dots and strokes of pigment to suggest form and luminosity. Blues and yellows interlace in the water, while buildings are defined by bold, simplified outlines in red, white, and orange. The absence of fine detail enhances the sense of movement and reflection, with color dots creating a shimmering effect that mimics sunlight on waves.

This print emerged during a period when Signac was actively promoting Neo-Impressionism through both painting and print media. It was likely produced in a limited run, as was common with artist-made lithographs of the time. No specific early ownership records are widely documented, but it belongs to a broader body of works he created to disseminate his color theories beyond canvas.

In the 1890s, lithography was gaining traction among avant-garde artists as a medium for experimental reproduction. Signac’s use of it aligned with broader efforts to democratize modern art, making Pointillist aesthetics accessible beyond gallery walls. His prints responded to contemporary debates about the role of science and perception in art, emphasizing optical mixing over traditional blending.

Signac’s lithographs helped bridge the gap between painting and print in late 19th-century modernism. Though less celebrated than his oils, this work contributed to the acceptance of print as a legitimate vehicle for avant-garde color theory. Later artists, including members of the Fauve movement, acknowledged his influence in their own explorations of non-naturalistic color.