For Fénéon, scientific rationality underpinned a utopian vision of a perfectly ordered society built on workers' rights, to be achieved, if necessary, by violent means. The subject matter of Seurat's paintings appealed to him as much as the calculated dots of color. Satire was directed at the "rigid" bourgeois in their Sunday best in La Grande Jatte. In a contrasting painting once owned by Fénéon and now in the National Gallery in London, Seurat portrayed relaxed young workers lounging and bathing across the Seine in the industrial suburb of Asnières. Was Seurat a political radical like his friends Signac, Camille Pissarro ("the anarchist Jew Pissarro," as the anti-Semitic Renoir called him), and Fénéon? Fénéon certainly thought so. While Seurat kept his opinions to himself, Fénéon noted that "his literary and artistic friends and those who supported his work in the press belonged to anarchist circles; and if Seurat's opinions had differed radically from theirs … the fact would have been noticed."