The United States is experiencing a touch of sociopolitical instability — perhaps karma for the nation's history of interference in other countries' politics? — that is putting its people on edge.
25.03.2024 - 12:55 / theguardian.com / Claude Monet / Napoleon Iii III (Iii)
Paris is called the City of Light, possibly because of its early adoption of gas street lighting. But that would not explain why, as I approach Gare du Nord on Eurostar during daytime, I experience a soft dazzle, similar to when I see a pebbly beach. This is not a meteorological phenomenon; the weather in Paris is only slightly better than London’s. Instead, the luminosity owes something to the buff or light-grey limestone of the older buildings (including the Sacré Coeur, rearing like a great ghost to my right), its pallor perpetuated by the whitewashed exteriors of newer buildings.
The light in Paris was a concern of the impressionists, the movement whose 150th anniversary is marked by the Musée d’Orsay’s forthcoming Inventing Impressionism exhibition. On 15 April 1874, a group of 31 artists, including Monet, Pissarro, Degas and Renoir, “hungry for independence” (as the Musée d’Orsay website has it) from the strictures of the Académie des Beaux-Arts, staged their own exhibition. Inventing Impressionism will feature works from that show and others of the time: “Painted scenes of modern life, and landscapes sketched in the open air, in pale hues and with the lightest of touches.”
The new movement got its name from Claude Monet’s Impression, Sunrise, a blurry view of Le Havre in Normandy, where he grew up. But, as Stephen Clarke writes in his book Paris Revealed, “Paris is the spiritual home of impressionism”, and their work is often discussed in relation to the remaking of the city by Baron Haussmann, commissioned by Napoleon III to “aérer, unifier et embellir” (open up, connect, beautify).
Historian Andrew Hussey writes in his book Paris: The Secret History of “an urban infrastructure that had barely been touched or improved since the late-medieval period … There were no straight roads through Paris, whose centre, Île de la Cité, was a dark and muddy labyrinth.” Haussmann created a network of boulevards, light by virtue of their width, the limestone he employed, zinc or slate roofs that shine when wet, and the pale trunks of the plane trees.
The Grands Boulevards of the Right Bank were especially important to the impressionists. The 1874 exhibition was held on Boulevard des Capucines, in an upper storey at number 35. Monet painted the view from his rooms there, depicting a boulevard full of light (enhanced by reflections off snow) and full of people. The Grands Boulevards were pleasure zones, the haunt of flâneurs, and lined with restaurants, theatres and, later, cinemas. (The Grand Rex, on Boulevard Poissonnière, makes its own contribution to the City of Light with its neon blaze.)
Another place important to the impressionists was Batignolles, a northern district annexed to Paris on Haussmann’s
The United States is experiencing a touch of sociopolitical instability — perhaps karma for the nation's history of interference in other countries' politics? — that is putting its people on edge.
Andrea Zelinski
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