Review
Art
Culture
5 min read

The dot and the dash: modern art’s quiet search for deeper meaning

Neo-Impressionism meets mysticism in a quietly radical exhibition

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

Van Gogh's painting of a sower, walking across a field as the sun sets.
Vincent van Gogh, The Sower.
Kröller-Müller Museum. Photographer: Rik Klein Gotink.

When Helene Kröller-Müller was introduced to charismatic art teacher H.P Bremmer in 1905, she came to view art as the conveyance of a spiritual experience. With Bremmer as her art adviser, she built an art collection and museum intended as a centre for spiritual life, set in the tranquillity of nature. A significant part of that collection is currently on show at the National Gallery providing an opportunity to see connections between modern art and spirituality which were always there but generally had not been highlighted by art curators or critics of the past. 

The focus of Radical Harmony at the National Gallery is the Neo-Impressionist art of Georges Seurat and Paul Signac. However, Kröller-Müller and Bremmer were also early collectors of the work of Vincent Van Gogh, an example of whose work is included in the show. As the Neo-Impressionists were artists who used small dots of paint to create their images while Van Gogh used broad dashes of pigment, this exhibition is an exploration of the spirituality of the dot versus the spirituality of the dash. 

Neo-Impressionists painted in small dots of pure colour. Viewed from a distance, the colours blend to create nuanced tones and an illusion of light. Now known as pointillism (although this name was not liked by the artists themselves), this technique simplified form and played with colour in an entirely new way, verging on the edge of abstraction. 

The Neo-Impressionist's dots of colour were carefully and deliberately placed to sit still on their canvases creating an overall sense of harmony and calm. It was this quality of peacefulness in their work that attracted Kröller-Müller. She spoke of these works being 'light and delicate, spiritual in content and style' and of Seurat's work as expressing 'emotion of religious-poetic disposition'.  

That was not how Seurat himself viewed his work. He viewed his approach as being more like a scientific method, but Kröller-Müller’s perceptions do have synergies with the work and religious inspirations of other Neo-Impressionist artists whose work is included here, particularly that of Jan Toorop and Johan Thorn Prikker. Both Toorop and Thorn Prikker also made works in a mystical Symbolist style, while Toorop, around the 1930s, became one of the most reproduced artists of his time, through his prints of Roman Catholic iconography. 

By contrast with the stillness of the Neo-Impressionist’s dots, the dashes used by Van Gogh possess a much greater sense of energy and movement. Each dash shows the direction of the brushstroke with which it was created and the cumulative effect of the dashes, set alongside each other, leads the eye across the image. Many of Van Gogh’s images, as which ‘The Sower’ included here, have a central sun forming a halo effect, with its rays, depicted as dashes, emanating from the flaming yellow orb and infusing the remainder of the image with its divine light and energy. Van Gogh viewed Christ as a ‘glowing light or blazing sun’ and used the dashes in his work to imply the divine presence in the world and its landscapes. 

In the exhibition, the contrast with dots that is provided by dashes is also apparent in a series of three heavily abstracted landscapes by Thorn Prikker, which draw on the approach of Van Gogh to create movement and energy throughout the entire image in contrast to the calm and stillness of landscapes created using dots of colour. Within their mystical Symbolistic images, Thorn Prikker and Toorop created a similar effect using continuous flowing sinuous lines. 

The contrast between the two styles was clearly apparent in the museum that Kröller-Müller opened in The Hague in 1913. There, in the spacious front room, Van Gogh’s paintings hung ‘powerful, dramatic & heavy’, ‘like life itself, like our reality’. In an adjoining room, ‘she created a lighter and more mystical atmosphere’ by hanging the works of Seurat, Signac and Théo van Rysselberghe. She wrote that as you came from one into the other, you would ‘suddenly stand in a completely different world’; being among the Neo-Impressionist works was to be where everything was light and tingling as ‘a French sun rises’. 

Bremmer and Kröller-Müller were early collectors of work by Van Gogh (as, too, was Anna Boch, an artist who also features in this show) regarding him ‘as the ultimate example of an artist who was filled with a sacred respect for everyday reality’. They also viewed Pointillism as ‘a spiritualisation of art’, as ‘applying the colour to the canvas dot by dot’ was done ‘in order to contemplate things more calmly and profoundly’.  

This focus on contemplation informed not only their collecting but also the design of the purpose-built museum that was opened in 1938, for which the artist Henry van de Velde was the architect. Van de Velde’s own Neo-Impressionist art also features in this exhibition, and he summed up the focus that he, Bremmer and Kröller-Müller had on contemplation of images in sympathetic architectural spaces, when he wrote of wanting: 

‘To establish the Dream of realities, the Ineffable soaring above them, to dissect them without pity to see their Soul, to strive for the pursuit of the Intangible and meditate – in silence – to inscribe the mysterious Meaning.’ 

Enabling such contemplation was the aim of these three and this exhibition reveals how and why they followed that aim. In doing so, the exhibition reveals more to us about the connections found and made between art and spirituality early on in the development of modern art. These are connections which have been overlooked in earlier discussions and presentations of Neo-Impressionism but which are being helpful and rightly rediscovered and represented in the present.  

Visit this exhibition to gain that understanding but also to take the opportunity, as Bremmer, Kröller-Müller and Van de Velde desired, to meditate in silence ‘to inscribe the mysterious Meaning’ of the works you will see. 

 

Radical Harmony: Helene Kröller-Müller's Neo-Impressionists, 13 September 2025 - 8 February 2026, National Gallery

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Article
AI - Artificial Intelligence
Community
Culture
Education
5 min read

Artificial Intelligence needs these school lessons to avoid a Frankenstein fail

To learn and to learn to care are inseparable

Joel Pierce is the administrator of Christ's College, University of Aberdeen. He has recently published his first book.

A cyborg like figure opens the door to a classroom.
AI in the classroom.
Nick Jones/Midjourney.ai.

Recent worries expressed by Anthropic CEO, Dario Amodei, over the welfare of his chatbot bounced around my brain as I dropped my girls off for their first days at a new primary school last month. Maybe I felt an unconscious parallel. Maybe setting my daughters adrift in the swirling energy of a schoolyard containing ten times as many pupils as their previous one gave me a twinge of sympathy for a mogul launching his billion-dollar creation into the id-infused wilds of the internet. But perhaps it was more the feeling of disjuncture, the intuition that whatever information this bot would glean from trawling the web,it was fundamentally different from what my daughters would receive from that school, an education.  

We often struggle to remember what it is to be educated, mistaking what can be assessed in a written or oral exam for knowledge. However, as Hannah Arendt observed over a half century ago, education is not primarily about accumulating a grab bag of information and skills, but rather about being nurtured into a love for the world, to have one’s desire to learn about, appreciate, and care for that world cultivated by people whom one respects and admires. As I was reminded, watching the hundreds of pupils and parents waiting for the morning bell, that sort of education only happens in places, be it at school or in the home, where children themselves feel loved and valued.  

Our attachments are inextricably linked to learning. That’s why most of us can rattle off a list of our favourite teachers and describe moments when a subject took life as we suddenly saw it through their eyes. It’s why we can call to mind the gratitude we felt when a tutor coached us through a maths problem, lab project, or piano piece which we thought we would never master. Rather than being the pouring of facts into the empty bucket of our minds, our educations are each a unique story of connection, care, failure, and growth.  

I cannot add 8+5 without recalling my first-grade teacher, the impossibly ancient Mrs Coleman, gazing benevolently over her half-moon glasses, correcting me that it was 13, not 12. When I stride across the stage of my village pantomime this December, I know memories of a pint-sized me hamming it up in my third-grade teacher’s self-penned play will flit in and out of mind. I cannot write an essay without the voice of Professor Coburn, my exacting university metaphysics instructor, asking me if I am really saying what is truthful, or am resorting to fuzzy language to paper over my lack of understanding. I have been shaped by my teachers. I find myself repaying the debts accrued to them in the way I care for students now. To learn and to learn to care are inseparable. 

But what if they weren’t? AI seems to open the vista where intelligences can simply appear, trained not by humans, but by recursive algorithms, churning through billions of calculations on rows of servers located in isolated data centres. Yes, those calculations are mostly still done on human produced data, though the insatiable need for more has eaten through most everything freely available on the web and in whatever pirated databases of books and media these companies have been able to locate, but learning from human products is not the same as learning from human beings. The situation seems wholly original, wholly unimaginable. 

Except it was imagined in a book written over two hundred years ago which, as Guillermo del Toro’s recent attempt to capture that vision reminds us, remains incredibly relevant today. Filmmakers, and from trailers I suspect Del Toro is no different here, tend to treat the story of Frankenstein as one of glamorous transgression: Dr Frankenstein as Faust, heroically testing the limits of human knowledge and human decency. But Mary Shelley’s protagonist is an altogether more pathetic character, one who creates in an extended bout of obsessive experimentation and then spends the rest of the book running from any obligation to care for the creature he has made.  

It is the creature who is the true hero of the novel and he is a tragic one precisely because his intelligence, skills, and abilities are acquired outside the realm of human connection. When happenstance allows him to furtively observe lessons given within a loving, but impoverished family, he imagines himself into that circle of growing love and knowledge. It is when he is disabused of this notion, when the family discovers him and is disgusted, when he learns that he is doomed to know, but not be known, that he turns into a monster bent on revenge. As the Milton-quoting monster reminds Frankenstein, even Adam, though born fully grown, was nurtured by his maker. Since even this was denied creature, what choice does he have but to take the role of Satan and tear down the world that birthed him? 

Are our modern maestros of AI Dr Frankensteins? Not yet. For all the talk of sentient-like responses by LLMs, avoiding talking about distressing topics for example, the best explanation of such behaviour is that they simply are mimicking their training sets which are full of humans expressing discomfort about those same topics. However, if these companies are really as serious about developing a fully sentient AGI, about achieving the so-called singularity, as much of the buzz around them suggests, then the chief difference between them and Frankenstein is one of ability rather than ambition. If eventually they are able to realise their goals and intelligences emerge, full of information, but unnurtured and unloved, how will they behave? Is there any reason to think that they will be more Adam than Satan when we are their creators? 

At the end of Shelley’s novel, an unreconstructed Frankenstein tells his tale to a polar explorer in a ship just coming free from the pack ice. The explorer is facing the choice of plunging onward in the pursuit of knowledge, glory, and, possibly, death, or heeding the call of human connections, his sister’s love, his crew’s desire to see their families. Frankenstein urges him on, appeals to all his ambitions, hoping to drown out the call of home. He fails. The ship turns homeward. Knowledge shorn of attachment, ambition that ignores obligation, these, Shelley tells us, are not worth pursuing. Will we listen to her warning? 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

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