It would not be an exaggeration to suggest that pointillism, propagated by its most famous advocate, provided the model for modern outdoor digital signage using large screens with miniature components arranged side by side to form a large, smooth-textured composition when viewed from afar. This can be seen, among other things, in sports stadiums as well as in advertising panels erected on multi-storey buildings. As with any art movement, the creation of pointillism was met with much scorn from the establishment in art circles of the time, including art critics and the public. At its first exhibition it proved most famous among observers, who pointed out its static and robotic characteristics, far from the fluidity that was the norm with Impressionism. In his book “The Principle of Hope,” Marxist philosopher Ernest Bloch compared the static nature of painting to French society; highlighting its political and cultural connotations. For her part, Linda Nochlin supports Bloch's argument by suggesting that the lack of interaction between the human figures in the composition had a revealing political impact.