El mito de la mezcla óptica impresionista

The appearance on the Parisian art scene of the works of Seurat and Signac in the eighth Impressionist Exhibition (1886) produced the erroneous comparison between some divisive technical approaches and the pure Impressionists ones, especially the one which is attributed to the use of optical mixing color, i.e. color fragmentation in the components and the reconstruction of tone in the retina of the viewer. This article attempts to investigate the causes, history, genesis and evolution of the myth, which has puzzled eminent historians, critics and artists and that persists today backed up by the principle of authority.