Bouquet de Fleurs — A tall, joyful arrangement of summer flowers — gladioli, dahlias, hydrangeas — rises from a pale vase against a cool field of blue and green, the table beneath glowing a warm coral-pink. The whole picture is built up from thousands of small dabs of pure colour, complementary hues set side by side so that the eye does the mixing and the canvas seems to vibrate with light. This is Serge Mendjisky at his most exuberant: a painter who took Seurat's divisionist theory and used it to celebrate the intense colour of the South of France. Mendjisky (1929–2017) was born in Paris into the art world. His father Maurice was a Polish painter of the École de Paris and brought the boy up among artist friends, including Pablo Picasso, who would later become a personal encouragement. After training at the École des Beaux-Arts, Serge moved south to Nice in 1949 and renewed those friendships — with Picasso, Jacques Villon and Dunoyer de Segonzac — while painting for a living. His first solo show came in Paris in 1959, followed swiftly by exhibitions in New York and Beverly Hills. By the mid-1960s he had committed himself fully to a Neo-Impressionist divisionist technique, drawing on Seurat, Van Gogh and Cézanne. Pure colour laid in short, rhythmic strokes; no blending on the palette; the luminous shimmer built entirely on the canvas. He kept faith with this approach for most of his career, only turning to sculpture and photo-collage later in life. His paintings are held in public collections including the Musée d'Art Moderne in Paris, the Philadelphia Museum of Art, and the Pushkin State Museum of Fine Arts in Moscow. Bouquet de Fleurs shows exactly why — pure colour, pure light, and pure pleasure to live with.