Bulletin du Musée National de Varsovie (39.1998)

In the exhibition catalogue the artist gave it the title Nudę Woman. It is
uncertain how the work came into Zapolska’s possession; it is contained in the
posthumous inventory of the artist’s work as well as in the collection of the
works of Madeleine Knoblock, Seurat’s friend and model.6S Zapolska became
interested in Impressionist and Post-Impressionist painting rather ąuickly after
her arrival in Paris. In an article published in Przegląd Tygodniowy on June 6,
1891, she described one of the paintings exhibited at the Salon of the Societe
des Artistes Franęais, comparing it to the work of Seurat.69 She wrote morę
extensively about pointillism and its concept of colour in her “Parisian Letter
VI”, devoted to a large degree to modern French art.70 She must have come
into greater contact with Seurat’s work during her work at the Theatre Librę.
Antoine was after all a great admirer of Neo-Impressionist art and a friend of

4. Paul Serusier,
White Co w,
before 1 895,
private colection,
deposited at the
Muzeum Narodowe,
Warsaw
(Phot. Teresa
Żółtowska-Huszcza)

peint, biographie et catalogue critiąue, Paris 1959, no. 176; C. M. de Hauke, Seurat et son oeuure,
Paris 1962, no. 181: A. Chastel, F. Minervino, Tout l’oeuvre peint de Seurat, Paris 1973, no. 183;
Ch. Sterling, J. Adhemar, Peintures. Ecole franęaise XDd siecle, IV Paris 1961, no. 1720; J. Selz,
F. Maubert, Orsay. Peintures, 1986, p. 148; Seurat, Galeries nationales du Grand Palais, Paris
1991, no. 185.

68 Seurat, op. cit., 1991, no. 185.

69 Publicystyka, op. cit., II, p. 20.

70 Ibid., Pp. 298-99.

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