Painting

Realism in the Age of Impressionism: Painting and the Politics of Time

Realism in the Age of Impressionism: Painting and the Politics of Time

Language: English

Pages: 272

ISBN: 0300208324

Format: PDF / Kindle (mobi) / ePub


The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-François Raffaëlli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young’s highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art. 

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response. The opportunity helped me refine some thoughts about Realism and time, and elements of my review consequently reappear in the introduction of this book. Very generously, Bridget Alsdorf took time to read the entire manuscript at a late stage and gave extremely productive and insightful remarks when it mattered most. Her subtlety of thought and keen eyes have made me look afresh at each of the paintings I treat in this book. At Yale University Press, Katherine Boller has been especially

publicly several times before, including once at the Galerie Petit in 1865, at the Exposition Universelle of 1867, and in Durand-Ruel’s gallery in 1872, it had only barely begun to emerge as the artist’s “masterpiece” in the mid-1870s.97 Beginning in late June 1878, it appeared again in the Durand-Ruel galleries at 16 rue Lafitte as the centerpiece of a “retrospective” exhibition of nineteenth-century French art.98 In later years, the painting became inextricably intertwined with the cultural and

The two also exhibited at the galleries of La Vie moderne on the boulevard des Italiens in April and June respectively, and the works at the Salon constituted only part of a broader publicity campaign that ultimately gained Monet greater sales and Manet the Legion of Honor the next year.34 No longer the center of Salon controversies, Manet had come to be called the “flag-bearer of Impressionism.”35 The lightened palette and modern subject of Chez le Père Lathuille no doubt secured him the title,

black flag signaled the presence of anarchists in the crowd. Fourcaud’s remarkable review suggests as much, although importantly, he did not actually mention the color of the flag in his review of 1880. In a monograph on the artist published sixteen years later—that is, on the other side of the escalating anarchist actions of the early 1890s—he inserted a reference to the “black flag” into a reprint of his earlier account of The Strike of the Miners.145 In strikes before 1890, as Perrot notes,

appears to be part and parcel of the area’s appeal for Raffaëlli. Asnières found other enthusiasts soon enough. The most famous painting of the area is, of course, Georges Seurat’s Bathers at Asnières of 1883–84 (fig. 93). Although the scene in fact takes place in Courbevoie, the picture offers a clear view of the railway and road bridges entering Asnières and the smokestacks of Clichy just downstream. On the other side of the bridges, at the very center of the canvas, lies the so-called Cloaca

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