西涅克《Woman With Parasol》（持伞的女子）
《Woman With Parasol》（Femme à l'ombrelle）（持伞的女子）
作者：Paul Signac
年代：1893年
材质：布面油画
尺寸：81 x 65 cm
风格：点彩派
体裁：肖像画
收藏：巴黎奥赛博物馆
西涅克作品富于激情，善用红色，色彩鲜明和谐。
在《持阳伞的女子》中，西涅克的伴侣宁静地站在一旁，手持一把色彩鲜艳的橙色雨伞，目光平静地望向画面右侧，超越画框。她的脸庞反射着透过雨伞的光线，但身体的其他部分和整个构图都沐浴在一种微妙的紫蓝色光中。罗布尔斯是皮萨罗的远房表妹，西涅克是在巴黎蒙马特区一家名为“黑猫”的流行卡巴莱结识她的。西涅克完成这幅肖像后不久，两人便结为夫妻。
虽然费奈翁和贝尔特的肖像画都出现在这里，并且是艺术家对色彩掌控力的典范——尤其是新印象主义的光学混合技法——但实际上，西涅克以新印象主义风格创作的肖像画并不常见。这幅作品是艺术家描绘家庭成员和亲密朋友系列中的最后一幅肖像。
以女子在伞下避雨为主题，也是印象派艺术家们常见的题材。例如，莫奈的作品曾为西涅克早期创作所效仿，而莫奈本人也多次描绘这一主题。值得注意的是，画面缺乏纵深感；与其说它是扁平的，不如说西涅克运用看似实色的色块（当然，这些色块是通过点彩技法在视觉上混合而成，并非单一均匀的色彩）来表现空间，这反映了他对日本浮世绘的兴趣，而这种兴趣当时也吸引了其他多位艺术家。在日本浮世绘中，空间的表达方式与西涅克在此处的处理颇为相似：极少通过明暗塑造来营造三维立体感，而是着重于色彩以及构成人物与雨伞的简洁几何形体的并置。左下角添加的花卉图案，似乎直接借鉴了日本装饰艺术。
In Woman with a Parasol, Signac's companion stands serenely holding a bright-colored, orange umbrella and looking serenely to the right, beyond the picture plane. Her face reflects the light coming through the umbrella but the rest of her body and the composition as a whole are bathed in a subtle, purple-blue light. Robles, whom Signac had met at Le Chat Noir, a popular cabaret in the Montmartre quarter of Paris, was a distant cousin of Pissarro. Shortly after Signac produced this portrait, the two were married.
While the portraits of Fénéon and Berthe are both featured here and are exemplary of the range of the artist's mastery of color - particularly the optical mixing of Neo-Impressionism - in fact, portraits by Signac in the Neo-Impressionist style are somewhat unusual. This work constitutes the final portrait in a series the artist had made depicting family members and close friends.
The theme, of a woman sheltering beneath an umbrella, was also a common one for the Impressionist artists. Monet, whose work Signac had emulated early in his career, represented the subject repeatedly, for instance. Notably, the scene lacks depth; short of being flat, Signac's use of fields of seemingly solid colors (mixed, of course, optically as the dots are not of a uniform color) is reflective of his interest in Japanese prints, which had captivated other artists of the period. In Japanese prints, the articulation of space is similar to what Signac has done here. There is very little modeling to create the illusion of three-dimensionality. Instead, the emphasis is on color and the juxtaposition of simple, geometric forms that make up the figure and her umbrella. The addition of the floral pattern on the lower left seems a direct quote of Japanese decorative art.
西涅克（Paul Signac，1863年11月11日-1935年8月15日）是点彩派画家，也是点彩派的奠基人之一，秀拉去世后，西涅克成为新印象派的首领。