The Swiss artist Beatrice Duval (1880-1973) was a close follower of Signac. His influence is particularly evident in her views of harbours and landscapes in which ‘large patches of colour blend perfectly’ – according to a critic who attended the Salon des lndependants in 1907. The great-granddaughter of Adam Topffer, the famous Genevan landscape painter and caricaturist, Beatrice traveled widely during her childhood and youth, especially around France, from Paris to Brittany and the Cote d’Azur. It was there that she met the various members of the Pissarro family, all of them painters, Maximilien Luce, Lucie Cousturier and Signac, most of whom belonged to the Neo-impressionist school and used the technique of Divisionism in their work. Paul Signac, who was seventeen years older than Beatrice, became her advisor and friend. She settled in France and visited the United States but was particularly attracted by warmer climes – Spain, ltaly, Algeria and Teneriffe which inspired many of her works. The canvases and watercolours she sent each year to the Salon des lndependants and those she was later to exhibit regularly at the Druet gallery in rue du Faubourg Saint-Honore were well received by the critics of the day, in particular Louis Vauxcelles, and by those who supported the Pointillist movement, such as Felix Feneon and Emile Verhaeren. After her father’s death in 1929 she settled in San Remo, and though she never completely abandoned painting, devoted most of the rest of her days to the protection of birds.
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