Belgian economic delegation to Meknès, Morocco. During these three months he made many color pencil sketches. He also drew a portrait of the sultan Hassan I. Back in Brussels, he started painting his impressions, relying on his photos, notes and sketches. His Nomad encampment (1887) is probably his first neo-impressionist work. In the Caravan in the mountains past Schliat, the influence of Seurat is unmistakable. His Gate of Mansour-El-Hay in Meknès (1887) and Morocco (the great souk) (1887) are also painted in pointillist style, but still with short strokes and not with points. These are among the rare pointillist paintings of Morocco. When he had finished these paintings, he stopped completely with this Moroccan period in his life. He now turned to portraiture, resulting in a series of remarkable neo-impressionist portraits. Pointillism His famous portrait of Alice Sèthe (1888) in blue and gold would become a turning point in his life. This time he used merely points in the portrait. She would later marry the sculptor Paul Dubois. Her sister, Maria Sèthe, also a model of van Rysselberghe, would marry the renowned Art Nouveau architect Henry Van de Velde. In that period he made many Neo-impressionistic portraits, such as the portrait of his wife Maria and their daughter Elisabeth. He had married Marie Monnom in 1889. They went on their honeymoon to the south of England and then to Brittany. This would also result in a number of Neo-impressionistic paintings. In Paris he had a meeting with Theo Van Gogh and managed thus to invite Vincent van Gogh to the next exhibition in Brussels. That is where Van Gogh sold Vigne Rouge in Montmajour to Anna Boch, the only painting he ever sold. Apart from the portraits, he also painted in this period many landscapes and seascapes : "Dunes in Cadzand" (1893), "The rainbow" (1894). In the 1895 he made long journeys to Athens and Constantinople, Hungary, Romania, Moscow and Saint Petersburg in order to make posters for the "Compagnie des Wagons-lits". One famous work is the poster "Royal Palace Hotel, Ostende" (1899). In 1897, van Rysselberghe moved to Paris. Along with Paul Signac, Maximilien Luce, , Alexandre Steinlen, Camille Pissarro, Van Dongen, George Willaume, etc., he contributed to the anarchist magazine . In the final years of the 1890s, Théo van Rysselberghe had reached the climax of his Neo-impressionist technique. Slowly he abandoned the use of dots in his