Jeanne Selmersheim-Desgranges was raised in a family of artists and architects and as an artist herself, was closely aligned with the Neo-Impressionist movement in the early 20thcentury, adopting a colourful, pointillist approach that reveals the influence of Paul Signac, her lifelong companion. The two had met while she was a student of his; both were married already, and they moved to St Tropez and had one child together. The heat and colour of the south of France greatly shaped Signac’s work and in turn Selmersheim-Desgranges’. Still-lifes and sun-basked gardens were favourite themes throughout her work, of which Nature Morte à la Soupière Chinoise is a bold example.

The composition brings together everyday objects— luscious fruit, flowers, glassware, and ceramics—arranged around a prominent blue-and-white Chinese soup tureen, while behind arching green leaves frame the scene. Each object is distinct yet carefully integrated into a cohesive whole. Colour is one of the defining strengths of the work. Selmersheim-Desgranges uses a bold but controlled palette, dominated by deep blues, vibrant greens, and warm reds and oranges. The cool tones of the background and table surface provide a counterpoint to the warmth of the fruit and flowers, heightening their visual impact. Thick, expressive brushstrokes emphasize both form and surface and animate the painting overall.

Although less widely known than some of her contemporaries, she was centrally placed within the avant-garde Neo-Impressionist movement, making a distinctive contribution which is reflected in her vibrant body of work, the spirit of which is encapsulated in the present painting.