Radical Harmony: Neo-Impressionism at The National Gallery

Rosalind Ormiston explores a landmark exhibition that brings masterpieces of Neo-Impressionism from the Kröller-Müller Museum to London, revealing how Seurat, Signac, Van Gogh and others reimagined colour, light and society…

Helene Kröller-Müller was one of the first female modern art collectors of the twentieth century. Her foresight, to create a comprehensive collection of neo-impressionist works, has enriched the lives of visitors to the remarkable Kröller-Müller Museum in Otterlo, near Arnhem, in the Netherlands. The museum was, essentially, her life’s work. Now, part of that phenomenal collection – including works by Seurat, Signac, Pissarro, Theo van Rysselberghe and Van Gogh –  is on loan to the National Gallery in London, in  a new exhibition, ‘Radical Harmony: Helene Kröller-Müller’s Neo-Impressionists’. In total, two-thirds of the exhibition’s artworks come from the Kröller-Müller museum, and is a wonderful opportunity to see some these Neo-Impressionist works for the first time.

The exhibition has two directional strands: the first showing the development of Neo-Impressionism through comprehensive examples, including paintings by the Paris-born Georges Seurat (1859-1891). Following his interest in scientific colour theory, Seurat created a new way of painting, now known as Pointillism, or Divisionism. The names relate to tiny dots, or points, of complementary pure colour with which he created his works.

Together with another great artist Paul Signac (1863-1935), also born in Paris, their paintings explore this remarkable style, and marks the beginning of Neo-Impressionism. A highlight is Seurat’s imposing Chahut, from 1889-90, capturing the gaiety of French cabaret in Paris. One of Seurat’s most important works – and what he described as his toiles de luttes, or ‘battle canvases’, for his most provocative pictures – it was the first acquired by Helene Kröller-Müller for public display. This is the first time the painting has been shown in Britain.

The second fascinating strand is Helene Kröller-Müller herself. She was born in Horst, Germany, in 1869. In 1876, her father Wilhelm, an industrialist, established a shipping-trading company, W.H. Muller & Co., in Dusseldorf, before expanding to cities including Antwerp, Rotterdam, London and New York. In 1883 Wilhelm employed Anton Kröller, the younger brother of his Dutch business partner, who later married Helene in 1888. A year later, Anton inherited the company on the sudden death of Helene’s father, Anton. He may have been just twenty-seven at the time, but his business acumen created a mega-company and vastly increased the family wealth.

Helene was part of the business but took time to study art appreciation with the influential art pedagogue, Hendricus Petrus Bremmer, while living in The Hague. He would tutor her in art history and introduce her to the work of contemporary artists, giving her a passion for art. Bremmer advised Helene to start her own collection and from 1907 assisted and advised her on which art works to buy, from Old Masters to avant-garde art, travelling to art fairs across Europe to do so.

The result was an impressive collection of over 11,500 works accumulated between 1907 and 1939, consisting of paintings, drawings and sculptures, antique pottery, and Delft Blue porcelain. Helene’s favourite artist was Vincent van Gogh, amassing ninety-one paintings and 180 drawings by the artist. His stunning work, The Sower, painted in Arles in 1888, features in the National Gallery show.

Helene Kröller-Müller’s ultimate motivation was to build a ‘museum house’ and to donate it and its art collection to the public. The underlying aim was to show the development of art, from realism to idealism. This intent came a step closer when her husband, a keen rider and hunter, purchased over 6,000 hectares of land in the Veluwe, a region of forested hills and lush landscapes some fifty kilometres south of Amsterdam. Between 1909 and 1921 he had added parcels of adjoining land to the original plot near Otterlo, and this estate today makes up the De Hoge Veluwe National Park, given to the Dutch nation by Helene Kröller-Müller. At its heart is the museum surrounded by a magnificent sculpture garden.

To protect the art collection and the country estate, in 1928 a foundation was set up and, in 1935, it was given to the Dutch State. The ‘museum house’ opened in 1938, shortly before Helene Kröller-Müller’s death in 1939. She hoped that visitors to the museum would enjoy viewing her collection in the tranquil surroundings of a country park. It has been an astounding success, today receiving around 400,000 visitors annually. Parts of the Kröller-Müller Museum in Otterlo are currently undergoing refurbishment, which has allowed gems from Helene’s post-impressionism art collection to travel to London, on loan for the exhibition.

‘Radical Harmony: Helene Kröller-Müller’s Neo-Impressionists’ is worthy of a special visit. Look out for the Dutch artist Jan Toorop’s Bridge in London (Charing Cross), then view his Glimmer of the Setting Sun, and feel the summer heat of Theo van Rysselberghe’s In July-before Noon; and find Paul Signac’s pairing of Portrieux, the Lighthouse and Portrieux, the Jetty, Grey Weather. Not to miss is the French anarchist-activist and post-impressionist painter Maximilien Luce (1858-1941) in his arresting The Iron Foundry.

These are just a few of the spectacular works to be seen in this exhibition. What makes Radical Harmony so compelling is the way it reveals Neo-Impressionism as more than a dazzling play of dots and colour. These artists were innovators, blending science, politics and art to capture both the brilliance and the tensions of their age. It’s a rare chance to see works seldom shown in Britain – and to witness a movement that changed the direction of modern art.

Radical Harmony: Helene Kröller-Müller’s Neo-Impressionists opens at The National Gallery on 13^th September, and runs until 8^th February 2026. For more information, please visit www.nationalgallery.org.uk. For those who cannot visit, there is an excellent catalogue, Radical Harmony: Helene  Kröller-Müller’s Neo-Impressionists, National Gallery Global, published by Yale University Press, 2025. https://www.nationalgallery.org.uk/exhibitions/radical-harmony-neo-impressionists

For more information about Arnhem and the Kroller-Muller museum, read Rosalind’s feature, ‘Arnhem: A City of Quiet Surprises’ here in The Arbuturian.