Gausson and Cavallo-Péduzzi introduced Luce in about 1884 to the Divisionist technique developed by Georges Seurat. This influenced Luce to begin painting in the Pointillist style. In contrast to Seurat's detached manner, Luce's paintings were passionate portrayals of contemporary subjects, depicting the "violent effects of light". He moved to Montmartre in 1887. Luce joined the Société des Artistes Indépendants and participated in their third spring exhibition, where Paul Signac purchased one of his pieces, "La Toilette". Camille Pissarro and critic Félix Fénéon were also impressed by the seven Luce works displayed in the show. Fénéon characterized Luce as a "coarse, honest man, with a rough and muscular talent". In addition to Pissarro and Signac, he met many of the other Neo-impressionists, including Seurat, Henri-Edmond Cross, Charles Angrand, Armand Guillaumin, Hippolyte Petitjean, Albert Dubois-Pillet, and Pissarro's son Lucien. A "New York Times" critic declared this Pointillist period to be the pinnacle of Luce's artistic career, singling out the radiant 1895 painting "On the Bank of the Seine at Poissy" as an example. He described the skillfully executed painting as "a lyrical celebration of nature".