and others whose work was being published in anarchist magazines such as Anarchy: A Journal of Desire Armed and Fifth Estate. The Living Theatre, a theatrical troupe headed by Judith Malina and Julian Beck, were outspoken about their anarchism, often incorporating anarchistic themes into their performances. In the 1990s, anarchists became involved in the mail art movement – "art which uses the postal service in some way". This relates to the involvement of many anarchists in the zine movement. Some contemporary anarchists make art in the form of flyposters, stencils, and radical puppets. Visual art 19th-century realism Visual art was considered one of the most important aspects of anarchist activity from the birth of anarchism, with Pierre-Joseph Proudhon writing on his friend and contemporary Gustave Courbet in the essay "Du Principe de l'art", published 1865, that 'The task of art is to warn us, to praise us, to teach us, to make us blush by confronting us with the mirror of our own conscience.' Courbet also went on to paint Proudhon on several occasions. Similarly Courbet wrote in 1850: Impressionism and Neo-Impressionism Among the Impressionists the artist Camille Pissarro is known to have had strong anarchist sympathies which led him to recommend to his children that they change their surnames to avoid being associated with his political beliefs. Pissarro's anarchism brought him into contact with the younger artists who formed the Neo-Impressionist group, particularly Paul Signac, Henri-Edmond Cross, Charles Angrand, Théo van Rysselberghe and Maximillien Luce, who were active in anarchist circles, particularly those of the political activist Jean Grave, who encouraged other anarchist activists to embrace the potential of art to further their cause. In their collaborations they established a tripartite relationship between art and anarchism, still debated to this day, in which the artist could be employed for direct propagandistic purposes, or could show images of the true condition of the proletariat, or, more controversially, envision future realities towards which an anarchist revolution might aspire. It is in this latter context that the bucolic images of the south of France by artists such as Cross and Signac should be viewed as anarchist paintings. Cubism and futurism Patricia Leighten has shown that Spanish cubist painter Juan Gris was an artist with strong anarchist sympathies, although she argues this is only evident in his overtly political cartoons. She suggests his cubist still lives, deliberately eschewed anarchist subject matter so that