Flowering apple trees on a sunny meadow — the branches not yet fully in leaf, the first blossom just appearing, the grass below already a vivid spring green broken with flecks of yellow and violet. Paul Baum (1859–1932) painted this canvas in 1899, the year in which his technique was crystallising from Impressionism into something more systematic and more radically committed to the division of colour — and the result is a painting of exceptional chromatic vitality. Look at the surface closely. The paint is applied in small, distinct strokes — each one a separate note of colour, placed with deliberate precision so that at a viewing distance they merge in the eye into the luminous green of the meadow, the complex warm-and-cool of the tree bark, the pale blue and pink of the spring sky. The branches of the apple trees are rendered in a range of colours that would seem improbable in isolation — reds, purples, blues, ochres — but that together create an entirely convincing impression of gnarled old wood in morning light. This is Pointillism applied not as theory but as sight: Baum's understanding that the eye mixes colour more vividly and more truthfully than the palette can. Born in Meissen in 1859 — the city of porcelain, where he trained first as a flower painter at the royal factory — Baum studied at the academies in Dresden and Weimar before a transformative journey to Paris in 1890 brought him face to face with the Impressionists. He settled in Knokke in Belgium, befriended Camille Pissarro and the Belgian Pointillist Théo van Rysselberghe, and developed into the most important representative of Neo-Impressionism in Germany. He was a member of the Dresden and Berlin Secessions, was appointed professor at the Dresden Academy in 1914 and at the Kassel Academy in 1918, and held the Villa Romana Prize. His work is held in the Nationalgalerie in Berlin, the Gemäldegalerie in Dresden and the National Gallery of Art in Washington. This work is recorded in the catalogue raisonné of Paul Baum's work on page 536 under Kasseler Archiv reference number 260 — the definitive scholarly documentation of his output. It comes from a private United Kingdom collection.