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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Review
Belief
Books
Creed
7 min read

Alice Roberts’ new book is the Da Vinci Code without the pretence of fiction

Tomes like Domination are part of the problem of public discourse about Christianity, not the solution
A head and shoulder image of Alice Roberts against a purple background
Alice Roberts.
alice-roberts.co.uk.

Alice Roberts would like you to read her book, thank you very much.

She recently took to X to bemoan the “epidemic” of people offering thoughts about her latest offering, without actually having read it. The person who prompted Roberts’ exasperation was a senior lecturer in Biblical Studies and the latest in a long of professional scholars of Christianity who had greeted the release of the book with little more than a weary eyeroll. 

The reason so many people felt as though they didn’t need to read it is because it is utterly predictable. Even a cursory glance at any of the marketing that has accompanied the publication of Domination: The Fall of the Roman Empire and the Rise of Christianity really does tell you all you need to know. It really is the book you think it is. 

You already know what this book is going to argue. Just like you already know how this review is going to go. I’m a theology lecturer who works for the Church of England; Roberts is an outspoken atheist and former president of Humanists UK. Of course I’m going to disagree with this book. It’s hardly the sort of plot twist you endure an M. Night Shyamalan film for.

But, for the avoidance of doubt, let me be clear: I don’t dislike Alice Roberts’ book because I’m a Christian and she’s not. I dislike Roberts’ book simply because it’s not very good.  

Roberts seeks to “lift the veil on secrets that have been hidden in plain sight.” (Always be wary of someone who claims to have noticed something no-one else has for the last 2,000 years). These ‘secrets’, she suggests, are that “the main reasons [Christianity spread so successfully] were not to be found in the pages of the Bible, but in a powerful alliance born of complex – and very human – incentives”.  

For Roberts, the central, overriding reason why Christianity flourished was simply economic and political power. In her own words, “the worldly aspects of the Church are undeniable. Wealth and power go hand-in-hand, and the Church had both in abundance.” It’s never clear who actually is thought to be denying this, except a vague group described as “apologist historians (including some who claim not to be Christian, but seem to be suffering from some kind of Stockholm syndrome) and theologians”.  

And this power-grab has been the aim since the earliest moments of the Church’s existence. The Apostle Paul is painted in cartoonishly Machiavellian tones: “As a Pharisee, a member of an established Jewish sect, Saul would have been a small fish in a big pond. The switch to this new breakaway sect [Christianity] would make him a prominent figure in a small but rapidly growing movement”. 

A few pages later – in a section that made me laugh so hard I had to put the book down for a few minutes to collect myself – Roberts offers a genuinely baffling reading of one of Paul’s early letters, to a group of Christians in the city of Corinth. In the letter, Paul speaks about divisions in the Church, with Christians claiming to ‘follow’ different leaders (such as Paul and Apollos). Roberts writes that “there’s a hint that Paul may have viewed Apollos as competitor” and continues: 

“When Paul wrote his first letter to ‘the Corinthians’ … he exhorted them to see themselves as united, whether they were following him, [or] Apollos … Paul, however disgruntled he might have been about the competition represented by other, potentially more eloquent, preachers, had decided it was best to team up. Still, he couldn’t quite resist suggesting his superiority – or at least, his priority – to Apollos: ‘I have planted, Apollos watered.’”. 

See?! SEE?! It’s all about power!! 

Well, that last bit is a quote from Paul’s first letter to the Corinthians, the third chapter and its sixth verse. Now, what Roberts doesn’t tell the reader is that she has left off the rest of the verse, and the verse that follows. “I planted, Apollos watered, but God gave the growth. So neither the one who plants nor the one who waters is anything, but only God who gives the growth.”  

But this is very different indeed to the impression Roberts gives us. Paul is quite clearly not claiming any sense of superiority over Apollos. No, he claims they’re both nothing, and that God alone deserves credit for anything good done by either of them. Not that you would know this from Roberts’ butchering of biblical texts.  

(As a slightly technical aside, the bit Roberts does quote should read ‘I planted,’ not ‘I have planted’. This sounds trivial but in the Greek text, Paul writes in a different tense than the one Roberts translates it as. This made me wonder what translation of the Bible was using or whether it was her own. However, there are no notes in the book. At all. And no mention of Bible translation that I could find. If we’re engaging in character assassinations of folk no longer alive to defend themselves, we might think that attention to the precise wording of their thought might be important. Apparently not). 

And there’s the rub. Roberts leave precisely zero room for earnest belief in God. Not her belief in God, obviously, but that the people whose words she has hacked and placed before us might earnestly think that their actions seek the betterment of those around them because of their belief in God. No. It’s all about power. I’ve highlighted her treatment of Paul in particular (again, because I found it genuinely hilarious), but time would fail me if I tried to recount all the ways that other figures in Church history are treated similarly. 

Roberts’ has complained about Frank Cottrell-Boyce (whom, she notes, is “a Catholic” as though this is in any way relevant to whether he’s right) for describing Domination as ‘cynical’. But how else could we possibly describe this? Yes, it is – of course – completely reasonable to highlight the social, cultural, political, and economic forces at work in and around the development of Christianity (is anyone actually suggesting otherwise?). And yes, of course some people have used Christianity for personal gain (seriously: is anyone actually suggesting otherwise?). 

But Roberts goes far beyond both points. Instead, she is simply stripping back the theological content of Christianity and claiming to have found “secrets that have been hidden in plain sight” having done so. But of course human motivation is all that is left once you strip belief in God out of religion, because what else could there be? Roberts’ prose may be captivating, but her argument is deeply immature and reductive. It’s like a toddler who’s just read Michel Foucault’s work on social power for the first time: an impressive toddler, to be sure, but a toddler nonetheless.  

Roberts does acknowledge that “people are complex, human societies are complex”, but this is little more than lip-service to nuance. None of this complexity is found in the actual argument of her book. It reminds me of someone saying, “no offence, but …” before going on to say something deeply offensive. A fleeting caveat doesn’t redeem a simplistic argument. 

In this respect, it’s quite telling that the front-cover endorsement comes from Stephen Fry who describes it as “a historical thriller of the highest quality.” In one respect, he’s not wrong. It reads like a thriller and – questions of content aside – might easily grip read readers with its compelling prose and rhetorical flourishes. But that’s because this is The Da Vinci Code without the pretence of fiction. A compellingly told conspiracy theory dressed up in just enough spliced-together reality to feign plausibility.  

Public discourse about religion and faith is too often conducted with a sneering cynicism that seeks to ride roughshod over the sincerely held beliefs of actual people who would actually describe themselves as religious. Books like Domination are part of the problem, not the solution.  

Maybe this is why I find Domination bordering on offensive. Not because of its content. (If I got upset every time someone ascribed bad motivations to the Church I’d never leave the house.) No, I find it borderline offensive because of its sheer existence. Whether you like it or not, religion has been and is an irrevocably vital part of who we are and where we’ve come from. Religious belief deserves at the very least to be understood, even if not agreed with. And so, when I finished Domination, I was left wondering: is that is? Is this the highest standard of discourse society can really be offered about religion? Dan Brown in an academic gown? Heaven help us, if so. 

The covers may be similar, and the titles may sound alike, but this is not Tom Holland’s Dominion. Where Holland’s work remains one of the most insightful and thoughtful accessible books about the development of Christianity and modern society, Roberts’ cynicism (for that is what it is) is both tiresome and tiring. (Moreover, that Holland’s book is not even mentioned once speaks volumes about Roberts’ work. That Roberts insists she has read it only makes that absence more baffling). 

The Church deserves more rigorous champions of atheism to scrutinise its belief; society needs a better class of conversation about religion and its role in our history. I fear Alice Roberts is not the former; Domination is certainly not the latter.  

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