LONDON — What does socialism seem like when earnestly perpetuated by terribly rich benefactors sorely missing in self-awareness? One reply is perhaps present in Radical Concord: Helene Kröller-Müller’s Neo-Impressionists on the Nationwide Gallery. This may be seen each in its collection of works from Helene Kröller-Müller’s Pointillism (or extra accurately, Neo-Impressionism) assortment, and within the exhibition’s business supporters. Our mates Griffin Catalyst, which is stewarded by a billionaire CEO and Trump backer, as soon as once more serves the folks an exhibition by which important curation takes a again seat.
Kröller-Müller was born right into a German household of industrialists, married a Dutch entrepreneur, and moved to the Netherlands in 1888. After turning into widowed, she inherited the enterprise and have become one of many wealthiest girls within the Netherlands. She amassed 11,500 works and the world’s largest assortment of Neo-Impressionism, and purchased 90 works by Vincent van Gogh, usually shopping for instantly from the artist and shut family. She finally opened her personal museum, stating that the works appeared “monumental in a museum, more beautiful than in a room.” The wall labels additionally enterprise that “the aims this remarkable collector hoped to realise shared Neo-Impressionism’s socialist ambition: by widening access to works made through a radical quest for harmony in art, the world might become a better place.” Ah, the idealism of extreme wealth.
Neo-Impressionism is defined as the appliance of dots of opposing colours collectively, in order that they change into extra vivid, versus mixing colours on a chromatic scale and making use of them with full freedom of brushstroke. Whereas radical in idea, this prescriptive methodology is completely restrictive to the purpose of banality, as viewing so many examples en masse proves. Particular person hues could “pop” to the attention, however photos are confined to flat linearity, virtually like “coloring in” sections, versus build up painterly layers as conventional modeling permits.
Seascapes must be brilliantly vivid celebrations of sunshine — however, as in Jan Toorop’s “Sea” of 1899, they seem insipid right here, as the strategy is insufficient for capturing depth and completely missing impression. The uncommon exceptions show the purpose: Whereas van Gogh’s “The Sower” (1888) employs opposing yellow and blue, his use of longer, layered strokes infuses the work with thrilling dynamism. And Georges Lemmen’s 1890 portrait of Jan Toorop varies the dimensions of the “dot,” once more to thrilling impact. Nearly all of the remainder of the works right here, although …. Simply take into consideration how a dot is by nature one-dimensional. No matter their quantity, on this format, they are going to solely ever type a group of dots.
Jan Toorop, “Sea” (1899), oil on canvas
A lot is product of the politically radical — “socialistic” — iconographic content material, similar to Jan Toorop’s depiction of staff in “Evening: Before the Strike” and “Morning: After the Strike” (1899–90), or Maximilien Luce’s rendering of staff in “The Iron Foundry” (1899). A minimum of the wall textual content for the latter notes that, regardless of shopping for direct from the artist, Kröller-Müller’s husband, “without any apparent sense of irony,” hung it within the workplace of his iron ore and transport enterprise. This absurdity infuses the entire present, which exists as a result of a rich benefactor — regardless of “supporting” the producers by shopping for from the artist direct — unironically chomped up all examples of an artwork motion that on paper represents socialist politics however is in itself technically prescriptive and stifling of deviation.
Add to this the decidedly perfunctory curating — there’s a room referred to as “The Silent Picture” devoted to home items, which argues that this specific approach communicated a way of isolation, although it’s extra an inadvertent impact when you ask me. And add to that the truth that this entire present was perpetuated by business supporters such because the philanthropic enterprise Griffin Catalyst, and the entire present feels extra about commerce than curation.
Georges Lemmen, “Jan Toorop” (1886), conté crayon and white chalk on paper
Maximilien Luce, “The Iron Foundry” (1899), oil on canvas
Jan Toorop, “Morning (After the Strike)” (c. 1888–90)
Georges Seurat, “Port-En-Bessin, a Sunday” (1888), oil on canvas
Set up view of Radical Concord: Helene Kröller-Müller’s Neo-Impressionists
Radical Concord: Helene Kröller-Müller’s Neo-Impressionists continues on the Nationwide Gallery (Trafalgar Sq., London) via February 8, 2026. It was curated by Julien Domercq, Chiara Di Stefano, Renske Cohen Tervaert, with Annabel Bai Jackson and Christopher Riopelle.
Editor’s be aware 9/18/25 5:23pm EDT: A earlier model of this text acknowledged that Helene Kröller-Müller “amassed 11,500 works and the world’s largest collection of Neo-Impressionism, and acquired 90 works by Vincent van Gogh, buying directly from the artist.” The wording his been clarified to replicate the truth that she usually purchased instantly from the artist or shut relations.
