[4] Under Seurat's influence he abandoned the short brushstrokes of Impressionism to experiment with scientifically-juxtaposed small dots of pure color, intended to combine and blend not on the canvas, but in the viewer's eye, the defining feature of Pointillism.

[5] He left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends.

[6] Signac, Albert Dubois-Pillet, Odilon Redon, and Seurat were among the founders of the Société des Artistes Indépendants.

In 1890, during the banquet of the XX exhibition in Brussels, Lautrec challenged to a duel the artist Henri de Groux who criticized Van Gogh's works.

With his friends Angrand Cross, Maximilien Luce, and Camille Pissarro he contributed to Jean Grave's paper, Les Temps Nouveaux (New Times).

As well as oil paintings and watercolors he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots.

The Neo-Impressionists influenced the next generation: Signac inspired Henri Matisse and André Derain in particular, thus playing a decisive role in the evolution of Fauvism.

[13] At the 1905 Salon des Indépendants, Henri Matisse exhibited the proto-Fauve painting Luxe, Calme et Volupté.

The brightly colored composition was painted in 1904 after a summer spent working in St. Tropez on the French Riviera alongside the neo-Impressionist painters Henri-Edmond Cross and Paul Signac.

A little later, in December of the same year, they acquired a house in Saint-Tropez named, La Hune, where the painter had a vast studio constructed that he inaugurated on 16 August 1898.

Meanwhile, Signac left La Hune and the Castel Beranger apartment to Berthe and they remained friends for the rest of his life.

Signac wrote several important works on the theory of art, among them, From Eugène Delacroix to Neo-Impressionism, first published in serial form in 1898.