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852! CHAPTER 28 Impressionism, Post-Impressionism, Symbolism: Europe and America, 1870 to 1900

contributes to the sense of energy and conveys the atmosphere of urban life.

Georges Rivière (1855–1943), an art critic and friend of some of the Impressionists, saw this painting in the third Impressionist exhi- bition and recorded the essence of what Monet had tried to achieve:

Like a !ery steed, stimulated rather than exhausted by the long trek that it has only just !nished, [the locomotive] tosses its mane of smoke, which lashes the glass roof of the main hall. . . . We see the vast and manic movements at the station where the ground shakes with every

Claude Monet. "e painter of Im pres - sion: Sunrise was Claude Monet (1840– 1926), whose works have become synony- mous with Impressionism, although other Impressionists adopted di#erent painting styles while choosing similar contemporary subjects. Monet grew up on the Normandy coast of France at Le Havre, the great sea- port at the mouth of the Seine, where his father sold groceries in bulk to shipping companies. Monet began to paint at an early age, and moved to Paris in late 1862 to pursue a career as an artist, returning to Le Havre on several occasions. Impres- sion: Sunrise, which is a view of that harbor, represented a sharp break from traditional landscape painting. In recording the boats, water, and sky en plein air—that is, outdoors (see “Painting Impressions of Light and Color,” page 851)—Monet made no attempt to disguise the brushstrokes or blend the pigment to cre- ate smooth tonal gradations, as traditional painters did. "is concern with acknowledging the paint and the canvas surface continued the modernist exploration that the Realists had begun.

Saint-Lazare. Although he is most famous for his landscapes, Monet, like the other Impressionists, also painted scenes set in Paris, the heart of modern life in France. Saint-Lazare Train Station ($%&. 28-3) depicts a characteristic aspect of the contemporary urban scene. "e ex- panding railway network had made travel more convenient, bringing large numbers of people into Paris and en- abling city dwellers to reach suburban areas, such as Argenteuil ($%&. 28-1) and Bennecourt ($%&. 28-2A), quickly ('() 28-1). In his “impression” of the Saint-Lazare railway terminal, Monet captured the energy and vitality of Paris’s modern transportation hub. "e train, emerging from the steam and smoke it emits, rumbles into the sta- tion. In the background haze are the tall buildings that were becoming a major component of the Parisian landscape. Monet’s agitated paint application

28-3 C!"#$% M&'%(, Saint-Lazare Train Station, 1877. Oil on canvas, 29 5 340 ) 39 50. Musée d’Orsay, Paris.

The Impressionists often painted scenes of the new urbanized Paris, the heart of modern life in France. Monet’s agitated application of paint contributes to the sense of energy in this railway terminal.

London

Brussels

Trier

Les Barraques

Ostend

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Nuenen

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Rome

Venice

Vienna

Berlin

Munich

Barcelona

Arles

Tarascon

Limoges

Saint-Rémy Aix-en-Provence

Pont-Aven

Bennecourt Rouen

Le Havre

BRITTANY

NORM ANDY

BURGUNDY

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PROVEN CE

CA TA LO NIA

F R A N C E A U ST R I A

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BELGIUM

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SWITZERLAND

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200 kilometers1000MAP 28-1 France around 1870 with towns along the Seine.

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