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Cargando... Manet, Monet, and the Gare Saint-Lazarepor Juliet Wilson Bareau
   Ninguno Actualmente no hay Conversaciones sobre este libro.  SeiShonagon | Dec 18, 2006 | 
This is a review of the exhibition, but it is good also for the catalog. ------------ This period of turmoil is the focus of ''Manet, Monet, La Gare St.-Lazare,'' a small but beguiling exhibition that has just opened at the Musee d'Orsay (itself, appropriately, a converted turn-of-the-century railroad station). The show, which runs here through May 17, will be presented in almost identical form at the National Gallery of Art in Washington from June 14 to Sept. 20. Few districts of Paris were transformed more rapidly than the Quartier de l'Europe, where streets took their names from major European cities. At the heart of this neighborhood was the Gare St.-Lazare, the city's first railroad station, which grew steadily between 1835 and 1886. The giant Pont de l'Europe, built in 1868 astride the train tracks, was hailed as a jewel of urban planning. In brief, the Quartier de l'Europe represented the modern face of Paris. It was strange, then, that a number of Impressionists should have moved into the neighborhood in the 1870's, almost as if Manhattan artists were to opt for the Upper East Side over SoHo today. Manet, Caillebotte, Morisot and several others became permanent residents, while Monet was frequently drawn back there. Could it be that the smoke and steam rising from the Gare St.-Lazare appealed to painters who favored impressions over reality? ---------
Edouard Manet's Gare Saint-Lazare, a painting he exhibited as Le Chemin de fer (The Railway), has always intrigued as much as it has delighted critics, scholars, and the art-loving public. Shown at the Paris Salon in 1874, the year of the first Impressionist exhibit, this enigmatic work provides a glimpse of the great stone and iron Pont de l'Europe next to the Gare Saint-Lazare where powerful steam engines were sheltered. Symbolizing energy and progress, the railroad became a focus for Manet, Monet, Caillebotte, and many other artists in the decades after the Franco-Prussian War and the Commune. Based on new research into the streets and studios of Paris, this book identifies the precise site of Manet's picture, painted shortly after his move to a new studio. The book reveals fresh meaning behind the artist's seemingly straightforward depiction of an urban scene and contrasts his major works of the 1870s with earlier key paintings that also featured Manet's favorite model, Victorine Meurent. The book also explores the atmosphere of Manet's studio and his close relationship with poet and critic Stéphane Mallarmé. Along with Manet, other artists celebrated the Pont de l'Europe, the Gare Saint-Lazare, and the Paris skyline beyond, while Monet sketched and painted within the station and down on the tracks, capturing the bustle and energy there. A comparison of Manet's and Monet's urban views sheds light on the crucial question of plein air versus studio painting. This book is the catalog for an exhibit that opens at the Musée d'Orsay in Paris on February 9, 1998 and moves to the National Gallery of Art in Washington, D.C. in May, 1998. Copublished with the National Gallery of Art, Washington, D.C. No se han encontrado descripciones de biblioteca. |
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 Google Books — Cargando...GénerosSistema Decimal Melvil (DDC)759.4The arts Painting History, geographic treatment, biography France and regionClasificación de la Biblioteca del CongresoValoraciónPromedio: (3.67)
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Exhibition Info from the National Gallery of Art