{"id":2113,"date":"2024-04-24T11:14:35","date_gmt":"2024-04-24T03:14:35","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=2113"},"modified":"2024-04-24T11:14:35","modified_gmt":"2024-04-24T03:14:35","slug":"the-birth-of-impressionism-comes-to-life-in-a-groundbreaking-exhibition-in-paris","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-birth-of-impressionism-comes-to-life-in-a-groundbreaking-exhibition-in-paris\/","title":{"rendered":"The Birth of Impressionism Comes to Life in a Groundbreaking Exhibition in Paris"},"content":{"rendered":"

It might seem like gilding the lily to devote a two-part exhibition to a single historic event, and yet the result, \u201cParis 1874: Inventing\u00a0Impressionism<\/a>,\u201d is a revelation. In it, the Mus\u00e9e d\u2019Orsay presents a show about a show\u2014specifically, the first Impressionist exhibition, which opened 150 years ago today and ushered in what we think of as modern art.<\/p>\n

The central exhibition, which marks the anniversary of that defining moment, is accompanied by a virtual reality component, the first time such immersive technology has been used so extensively to enhance the experience of fine art. This parallel show, \u201cTonight with the Impressionists,\u201d occurs in a space adjacent to the main exhibition.<\/p>\n

The physical show (with a ticket price of \u20ac32, or about $35) is on view through August 11 and will travel to the National Gallery of Art in Washington, D.C., in September (without the virtual reality component). Of the 157 works in the exhibition, 39 come from the Mus\u00e9e d\u2019Orsay, 8 from the National Gallery, and the rest from museums and private collections around the world.<\/p>\n

The goal of the VR exhibit, which originated with the Orsay, is to have visitors relive the evening of April 15, 1874, when at 8 p.m. the doors opened to the first Impressionist exhibition. \u201cIt was a very human moment,\u201d said Emmanuel Guerriero<\/a>, head of the immersive technology firm Excurio, referring to the historic evening, \u201cso we foregrounded human emotions.\u201d Excurio and Gedeon Experiences coproduced the VR show.<\/p>\n

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VR reconstruction of the first Impressionist exhibition. Concept art copyright \u00a9 Excurio \u2013 GEDEON Experiences \u2013 Mus\u00e9e d\u2019Orsay<\/p>\n

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No photographs exist of the historic exhibition, which was hung by the artists themselves. Therefore, \u201cwe threw ourselves into an investigation that lasted two years,\u201d said St\u00e9phane Milli\u00e8re, head of Gedeon Media Group.<\/p>\n

Rose, a fictional nineteenth-century artists\u2019 model and aspiring artist, leads visitors outfitted with VR headsets on a 40-minute virtual reality experience that relives the opening in Paris. They also travel to Bougival, just west of Paris\u2014a favorite haunt of the struggling young artists whose calling card was painting\u00a0en\u00a0<\/em>plein air\u2014<\/em>and to the cliffs of \u00c9tretat and other key locations where they worked or discussed their shared aesthetic mission.<\/p>\n

This careful reconstruction took into account land surveys, aerial photography of the neighborhood and studio, receipts and other documents, the original exhibition catalogue (on view in an exhibition case), letters written by the artists (which nourished the VR script), and reviews by contemporary journalists. It brings to life the venue for the 1874 exhibition: the former Paris studio of photographer Gaspard-Felix Tournachon<\/a> (known professionally as Nadar), with its luxurious crimson wall hangings and carpet, its tall windows and interior waterfall, and even its fa\u00e7ade, which boasted Nadar\u2019s name picked out in red and gold lights.<\/p>\n

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Nadar, Fa\u00e7ade of Nadar\u2019s studio, 35, Boulevard des Capucines, Paris, c. 1861. Collection Biblioth\u00e8que nationale de France, Paris.<\/span><\/figcaption><\/figure>\n<\/div>\n

According to the Orsay exhibition\u2019s co-curator Anne Robbins, Nadar rented the building, at 35 Boulevard des Capucines, to the participating artists for 2,000 francs. These artists had, in late 1873, formed a cooperative society, the\u00a0Soci\u00e9t\u00e9 des artistes peintres, sculpteurs, graveurs, et lithographes<\/em>, in response to the realities of the Paris Salon, the official venue overseen by the Acad\u00e9mie des Beaux-Arts, which had rejected numbers of them in the late 1860s. What they desired was economic and artistic emancipation. Rather than remain beholden to juries and art dealers, these frustrated renegades wanted to find their own audiences and clienteles.<\/p>\n

The founding group comprised 22 members, among them now-familiar names such as Claude Monet and Camille Pissarro<\/a>. Its diverse and eclectic members, whose number had swollen to 31 by the April opening, each paid 60 francs for the four-week run, Robbins told\u00a0ARTnews<\/em>, and were meant to enter two works each\u2014though all submitted more, for a total of around 200 pieces. The exhibition, which opened 15 days before the Salon, drew 3,500 paying visitors and garnered approximately 60 reviews.<\/p>\n

\u201cIt was the first time the public was exposed to so many works called \u2018Impressionist,\u2019\u201d said Milli\u00e8re. Indeed, the term arose just 10 days after the opening when journalist Louis Leroy used it to mock the sketchy approach encapsulated by Claude Monet\u2019s\u00a0Impression, Sunrise\u00a0<\/em>(1872)\u2014with its now-famous peach-colored orb hovering above pale gray-blue water. This work is placed in its own room in the Orsay installation, accompanied by pastels of rising and setting suns by both Monet and his teacher Eug\u00e8ne Boudin.<\/p>\n

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Eug\u00e8ne Boudin,\u00a0Study of the Sky at Sunset<\/em>, c. 1862\u20131870. Collection Mus\u00e9e d\u2019Orsay, Paris. Digital image copyright \u00a9\u00a0RMN-Grand Palais (Mus\u00e9e d\u2019Orsay) \/ Herv\u00e9 Lewandowski.<\/span><\/figcaption><\/figure>\n<\/div>\n

The Orsay exhibition makes a tremendous effort to place the term\u00a0Impressionism<\/em>\u00a0in context. \u201cThere\u2019s a myth that this was a movement of scrappy, avant-garde artists,\u201d said the show\u2019s co-curator Sylvie Patry. Instead, \u201cit started with a cooperative project of 31, and they were not all Impressionists. It was more nuanced than that.\u201d Nevertheless, there was the daring of the proposal itself. \u201cThen critics remarked that among [the artists], there was a kernel of audacious ones,\u201d Patry pointed out.<\/p>\n

Certainly, a timeline early in the exhibition highlights the fact that a number of the participating artists\u2014Paul C\u00e9zanne<\/a>, Alfred Sisley, Monet, Berthe Morisot, and Pierre-Auguste Renoir\u2014were born within two years of one another, between 1839 and 1841 (with Pissarro and Edgar Degas born in 1830 and 1834, respectively). But what is common to this modest handful of artists was not a particular school or movement but rather a desire to depict modern life; reject hierarchies of class; capture impressions of fleeting instants; and introduce a new way of painting that involved loose, brisk, bold brushwork and a lively play of colors.<\/p>\n

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Berthe Morisot,\u00a0Reading<\/em>, 1873. Collection Cleveland Museum of Art. Digital image courtesy Cleveland Museum of Art.<\/span>HOWARD AGRIESTI, CLEVELAND MUSEUM.<\/cite><\/figcaption><\/figure>\n<\/div>\n

This style would pave the way for other important 20th-century artists and movements. But the very fact of the exhibition, which went beyond the 1863 Salon des Refus\u00e9s in defining itself outside any Salon system, deserves special attention: \u201cThis way of [artists] organizing themselves was in itself radical and revolutionary,\u201d said Patry. \u201cIt was astonishingly new and independent.\u201d<\/p>\n

The Orsay\u2019s physical exhibition (like its virtual one) hews closely to the historical realities of 1874. It is striking how many of the pieces included have been sourced from private collections to achieve Robbins and Patry\u2019s goal: Almost all the works in \u201cParis 1874\u201d derive from the first Impressionist exhibition, the 91st Salon of that year, or later Impressionist shows.<\/p>\n

In the first room, titled \u201cRuins and Reconstruction,\u201d the curators have provided context for the artworks in the show. Lithographs, including two by \u00c9douard Manet (who declined to participate in the first Impressionist exhibition) depict the tumult of the Siege of Paris during the Franco-Prussian War of 1870 and the bloody rise and demise of the short-lived Paris Commune of 1871.<\/p>\n

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\nEdouard Manet,\u00a0Civil War,<\/em>\u00a01871. Collection Biblioth\u00e8que nationale de France, Paris.<\/span><\/figcaption><\/figure>\n<\/div>\n

At the same time, as seen in works such as Louis-\u00c9mile Durandelle\u2019s photographs of the construction of the Op\u00e9ra Garnier, the industrial revolution and recent urban renewal instigated by Baron Haussmann had created new buildings, railroad stations, and parks. The population had doubled, and new lifestyle trends were ascendant. In short, as one of the exhibition\u2019s wall texts notes, by 1874 Paris was in the midst of a revival, teeming with new businesses, luxury shops and entertainment venues.<\/p>\n

The exhibition proper begins in the second room, where photographs of Nadar\u2019s studio provide a lead-in to some of the same works that opened the original 1874 show. Drawn from various locations, they convey the shock of modern life. In Renoir\u2019s\u00a0La Parisienne\u00a0<\/em>(1874), from the National Museum in Cardiff, Wales, depicts the French actress Henriette Henriot, known for her roles at the Th\u00e9\u00e2tre de l\u2019Od\u00e9on. Chic in her up-to-the-minute dress and hat, she incarnates the new Parisian woman. Next to her, Renoir\u2019s\u00a0La Danseuse\u00a0<\/em>(1874), with her diaphanous bluish-white tulle skirt and pink slippers, is on loan from the National Gallery in Washington. Monet\u2019s street scene\u00a0Boulevard des Capucines\u00a0<\/em>(1873\u201374), loaned by the Nelson-Atkins Museum of Art in Kansas City, Missouri, depicts a crush of people through which carriages careen. Renoir\u2019s\u00a0La loge\u00a0<\/em>(1874), now in the collection of the Courtauld Institute in London, depicts affluent theatergoers: he with opera glasses raised, she boldly surveying the crowd.<\/p>\n

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Auguste Renoir,\u00a0The Theatre Box<\/em>, 1874. Collection Courtauld, London. Digital image copyright \u00a9 Courtauld\/Bridgeman Images.<\/span><\/figcaption><\/figure>\n<\/div>\n

Further along, a gallery showcases the conservative tastes of the well-heeled Paris Salon, from which the state made its purchases and which would shortly open nearby at the Palais de l\u2019Industrie et des Beaux-Arts. Here, history paintings and monumental biblical and mythological scenes abut genre scenes, landscapes, and \u201cOrientalist\u201d works, many on loan from private collections or institutions such as the Rijksmuseum in Amsterdam and the Museum of Fine Arts in Boston. Each was displayed at the 91st Salon of 1874.<\/p>\n

Salon and Impressionist exhibition artists share the walls in subsequent rooms, as\u2014despite the outward competition between the two shows\u2014overlaps were frequent. Later sections of the exhibition are devoted to paintings from five of the seven Impressionist exhibitions after 1874, when they expanded to include Pointillist painters Georges Seurat and Paul Signac and the budding Symbolist painter Odilon Redon.<\/p>\n

While \u201cParis 1874\u201d includes works by many lesser-known artists, the exhibition concludes with a parade of what are now considered Impressionist masterpieces. The final gallery is filled with such famous works as Monet\u2019s\u00a0Gare Saint-Lazare\u00a0<\/em>(1877) with its puffing steam engine, and ends with Renoir\u2019s\u00a0Dance at the Moulin de la Galette<\/em>\u00a0(1877), all dappled sunlight and shadow.<\/p>\n

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Claude Monet,\u00a0Saint-Lazare Station<\/em>, 1877. Mus\u00e9e d\u2019Orsay, Paris. Digital image copyright \u00a9 RMN-Grand Palais (Mus\u00e9e d\u2019Orsay) \/ Herv\u00e9 Lewandowski.<\/span><\/figcaption><\/figure>\n<\/div>\n

\u201cFinancially, it was not a success,\u201d Robbins said of the 1874 show. \u201cIt was a failure.\u201d Only a handful of paintings sold: canvases by Sisley, Monet, Renoir, and C\u00e9zanne. By the end of the year, the society was bankrupt. But this financial flop was an achievement with immense implications, forever changing the direction of art history.<\/p>\n

\u201cWe didn\u2019t want to do an homage to Impressionism, but rather show a precise moment in time, the birth of a movement,\u201d said Patry. Like the paintings it features, the exhibition focuses on a transitory instant, but it was a consequential one.<\/p>\n","protected":false},"excerpt":{"rendered":"

It might seem like gilding the lily to devote a two-part exhibition to a single historic event, and yet the result, \u201cParis 1874: Inventing\u00a0Impressionism,\u201d is a revelation. In it, the Mus\u00e9e d\u2019Orsay presents a show about a show\u2014specifically, the first Impressionist exhibition, which opened 150 years ago today and ushered in what we think of […]<\/p>\n","protected":false},"author":2,"featured_media":2114,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-2113","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nThe Birth of Impressionism Comes to Life in a Groundbreaking Exhibition in Paris - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"It might seem like gilding the lily to devote a two-part exhibition to a single historic event, and yet the result, \u201cParis 1874: Inventing\u00a0Impressionism,\u201d is a revelation.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-birth-of-impressionism-comes-to-life-in-a-groundbreaking-exhibition-in-paris\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Birth of Impressionism Comes to Life in a Groundbreaking Exhibition in Paris - 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