Realism in the Age of Impressionism: Painting and the Politics of Time
Swimsuits of the two men implies a quasinarrative unfolding—but at the instant depicted, the diver merely bends forward in this frozen position. Although the three paintings can be, and likely were, understood as offering a straightforward “Impressionist” temporality, they in fact consist of various interwoven times: flow, repetition, stillness, freezing, and the passing moment. These various temporalities have never been properly recognized, perhaps in large part because the relation of the.
As well. For now, it suffices to say that one of the things Caillebotte’s early work does is manufacture a peculiar viewing position that simultaneously includes the beholder within the interior and at the same time effectively denies the beholder a place within it. As Fried puts it in his discussion of the street scene depicting the intersection of the rue de Lisbonne and the boulevard Malesherbes in the background of Young Man at His Window: “Our perception of the scene through the open window.
Correlate: Anzin. Daniel Bernard was not the only critic who took Roll’s painting to be a more or less direct representation of the great miner’s strike of 1878, but he made the relation emphatic when he retitled it The Strike at Anzin.82 That his own newspaper, L’Univers illustré, had covered the strike and published an illustration depicting French dragoons dispersing strikers just outside Anzin in the summer of 1878 probably fueled the association for the writer and his audience (fig. 69).
Place within this broader restructuring and regimentation of time. To present the topic in this way is, of course, to assert two potentially separate problems of historical interpretation. First, the chapters that follow offer an account of the end of a style of painting—and, in turn, an account of what was distinctive about that style. Modernist histories have typically failed to treat the persistence of Realism as dialectically related to Impressionism in the 1870s and 1880s. As an avant-garde.
Paris, 26 March 2014). The parallels between the déclassé and the ragpicker as types evoke a comparison that Raffaëlli’s wider pictorial production all but demands. Les Déclassés draws upon, and should be located within, a wider series of images of Parisian ragpickers that Raffaëlli undertook about 1880. The déclassé as a type absorbs and generalizes the more particular character of the ragpicker, indicating in general terms the nature of poverty outside the city walls. At the same time, the.