Capitalizing on the 150th anniversary of the first impressionist exhibition, Paris 1874: The Impressionist Moment brings together some 130 paintings, works on paper, prints, and photographs to take a fresh look at this renowned art movement. The exhibition and its accompanying publication draw upon a wealth of scholarship over the past several decades to take an explicitly multidisciplinary approach toward impressionism. Paris 1874 not only explores the key role played by the contemporary press and caricatures of the era, but it also examines the genesis of impressionism in regards to literature, drama, and music. The book focuses on the specifically “new and original character” of impressionism—as art critic Théodore Duret put it—in relation to the spectacle of the devastation of the Franco-Prussian War and the Commune as well as the subsequent process of reconstruction. It also addresses the aesthetics and critical reception of the movement following the lead of artists’ societies and as it was influenced by the growth of the art market and sales.
In reconstructing the diversity of the impressionist exhibition and placing it in the context of leading official artists of the day, Paris 1874 features artists who are popular today alongside others who are largely unfamiliar to a general audience. Of the 40 participating artists in the 1874 exhibition at Nadar’s studio in Paris, only a handful—Cézanne, Degas, Monet, Morisot, Pissarro, Renoir, and Sisley—are widely known today. Works by Salon artists celebrated in 1874—Gérôme, Bonnat, Bouguereau, and Henner, among others—that addressed pressing “modern” issues with intensity and ingenuity provide a compelling addition to understanding the impressionist moment.
Capitalizing on the 150th anniversary of the first impressionist exhibition, Paris 1874: The Impressionist Moment brings together some 130 paintings, works on paper, prints, and photographs to take a fresh look at this renowned art movement. The exhibition and its accompanying publication draw upon a wealth of scholarship over the past several decades to take an explicitly multidisciplinary approach toward impressionism. Paris 1874 not only explores the key role played by the contemporary press and caricatures of the era, but it also examines the genesis of impressionism in regard to literature, drama, and music. The book focuses on the specifically “new and original character” of impressionism—as art critic Théodore Duret put it—in relation to the spectacle of the devastation of the Franco-Prussian War and the Commune as well as the subsequent process of reconstruction. It also addresses the aesthetics and critical reception of the movement following the lead of artists’ societies and as it was influenced by the growth of the art market and sales.
In reconstructing the diversity of the impressionist exhibition and placing it in the context of leading official artists of the day, Paris 1874 features artists who are popular today alongside others who are largely unfamiliar to a general audience. Of the 40 participating artists in the 1874 exhibition at Nadar’s studio in Paris, only a handful—Cézanne, Degas, Monet, Morisot, Pissarro, Renoir, and Sisley—are widely known today. Works by Salon artists celebrated in 1874—Gérôme, Bonnat, Bouguereau, and Henner, among others—that addressed pressing “modern” issues with intensity and ingenuity provide a compelling addition to understanding the impressionist moment.
- Format: Hardcover
- Language: English
- Page count: 288 pages
- Dimensions: 8.71 x 1.09 x 12.87 inches
- Publisher: National Gallery Washington (June 11, 2024)
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| Description | Capitalizing on the 150th anniversary of the first impressionist exhibition, Paris 1874: The Impressionist Moment brings together some 130 paintings, works on paper, prints, and photographs to take a fresh look at this renowned art movement. The exhibition and its accompanying publication draw upon a wealth of scholarship over the past several decades to take an explicitly multidisciplinary approach toward impressionism. Paris 1874 not only explores the key role played by the contemporary press and caricatures of the era, but it also examines the genesis of impressionism in regard to literature, drama, and music. The book focuses on the specifically “new and original character” of impressionism—as art critic Théodore Duret put it—in relation to the spectacle of the devastation of the Franco-Prussian War and the Commune as well as the subsequent process of reconstruction. It also addresses the aesthetics and critical reception of the movement following the lead of artists’ societies and as it was influenced by the growth of the art market and sales. In reconstructing the diversity of the impressionist exhibition and placing it in the context of leading official artists of the day, Paris 1874 features artists who are popular today alongside others who are largely unfamiliar to a general audience. Of the 40 participating artists in the 1874 exhibition at Nadar’s studio in Paris, only a handful—Cézanne, Degas, Monet, Morisot, Pissarro, Renoir, and Sisley—are widely known today. Works by Salon artists celebrated in 1874—Gérôme, Bonnat, Bouguereau, and Henner, among others—that addressed pressing “modern” issues with intensity and ingenuity provide a compelling addition to understanding the impressionist moment.
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