The National Gallery in London is currently showcasing an exhibition titled “Radical Harmony: Helene Kröller-Müller’s Neo-Impressionists.” This exhibition features works from Helene Kröller-Müller’s collection of Pointillism art, also known as Neo-Impressionism. Helene Kröller-Müller was a wealthy benefactor who amassed a significant collection of 11,500 works, including 90 pieces by Vincent van Gogh, making her one of the wealthiest women in the Netherlands.
The exhibition highlights the Neo-Impressionist technique of using dots of opposing colors to create vivid images. While this method may seem radical in theory, in practice, it can be restrictive and lacking in depth. Works like Jan Toorop’s “Sea” and Maximilien Luce’s “The Iron Foundry” demonstrate the limitations of this technique, as they lack impact and dynamism.
The exhibition also explores the political themes in Neo-Impressionist art, with works depicting scenes of workers and industrial settings. However, the irony of a wealthy benefactor collecting and displaying socialist-themed art is not lost on the viewers. The exhibition raises questions about the intersection of art, wealth, and politics.
Despite the thematic content of the artworks, the exhibition’s curation has been criticized for its perfunctory nature. The commercial supporters of the exhibition, such as Griffin Catalyst, have also raised eyebrows, with some questioning the motives behind the show.
Overall, “Radical Harmony: Helene Kröller-Müller’s Neo-Impressionists” raises important questions about the role of wealthy benefactors in shaping the art world and the authenticity of art movements that claim to be politically radical. The exhibition runs at the National Gallery in London until February 8, 2026.
