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“... In 1890, the neo-Impressionist Paul Signac offered to paint Félix Fénéon, the very coiner, four years previously, of the term ‘neo-Impressionist’. The critic-subject responded with modest evasiveness, and then a proviso: ‘I will express only one opinion: effigy absolutely full-face – do you agree?’ Signac did not agree ...”

“... aka bomb-throwing. This is one of the riddles of modernist art, and at its centre is the sphinx Félix Fénéon (1861-1944), great champion of Seurat and company, brilliant critic and editor, sophisticated dandy and gallerist – and committed anarchist. An exhibition about his Paris milieu, artistic, literary and political, has reopened at the Museum ...”

“... Hair was bought as a Seurat by Samuel Courtauld himself. He had been told by Seurat’s friend Félix Fénéon, who catalogued his work, that it was genuine, an early painting done as Seurat was formulating his pointillist style. The caption points out that the signature is a later addition, but the main objection to it – what makes it ‘one of the ...”

“... In​ 1897 or 1898, Edouard Vuillard gave Félix Vallotton one of his most important paintings. Vuillard’s Large Interior with Six Figures appears in two of Vallotton’s paintings, hanging on the wall and reflected in a mirror. It is quintessential early Vuillard: an intimate world ruled by women, jigsawed into place by wallpaper, curtains and rugs, any anxiety or conflict muffled by patterns and layers of plush ...”

“... shine. (The decision to begin with his wild Neo-Impressionist portrait of the debonair critic Félix Fénéon caused much consternation: that’s how fetishised the presentation had become.) One effect is to ease the expectation that every work be world-historical: though MoMA still believes its story to be definitive, it does not feel so ...”

“... Signac, Van Gogh, Toulouse-Lautrec, Matisse – and become friendly with Bonnard, Vuillard, Félix Fénéon and others. Most important was his exposure to Pissarro. Degas admired Pissarro more than any other of his peers, and Sickert spent time with the two men in 1900. The next year, Pissarro was in Dieppe during the summer, and Sickert sat down ...”

“... inauthenticity.The fait divers came into its own, as the final reductio of all storytelling, with Félix Fénéon’s ‘Nouvelles en trois lignes’ – ‘stories’ in both journalistic and writerly senses – which appeared in the Parisian broadsheet Le Matin between May and December 1906 (not, as McGuinness tells us, between 1903 and ...”