A portrait of Paul Signac at the helm of his yacht, rendered in the precise, luminous dot-based technique of Neo-Impressionism.

Théo van Rysselberghe painted this portrait of his friend and fellow artist, Paul Signac, in 1896. The work depicts Signac steering his yacht, the Olympia, across the Mediterranean. Van Rysselberghe, a central figure in the Belgian Neo-Impressionist circle, adopted the divisionist technique pioneered by Georges Seurat. He applied small, distinct dots of colour to the canvas, allowing the viewer's eye to blend them optically from a distance.

The composition captures Signac in profile, his gaze fixed on the horizon. He wears a dark navy jumper and a matching cap, which contrast against the luminous, stippled surface of the sail and the rhythmic, agitated water. The artist uses a palette dominated by blues, purples, and warm ochre tones to define the form of the sitter and the surrounding maritime environment. The rigid, geometric lines of the rigging provide a structural counterpoint to the soft, atmospheric quality of the pointillist application.

This painting documents the close personal and professional ties between the two artists. Signac was a passionate sailor and a vocal advocate for the Neo-Impressionist movement. By placing him at the helm, Van Rysselberghe portrays his subject as a man of action and a navigator of his own aesthetic course. The work remains a primary example of how the divisionist method could be applied to portraiture, moving beyond static representation to convey a sense of movement and light. The surface texture is uniform, with the dots creating a shimmering effect that mimics the reflection of sunlight on the sea. This print reproduces the precise application of colour and the structural balance of the original composition, offering a clear view of the artist's technical approach.