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And the Birth of Impressionism and the Birth of Impressionism 5414_5413_Monet_s001-208_und_217-281.indd 1 09.02.15 07:49 5414_5413_Monet_s001-208_und_217-281.indd 2 06.02.15 16:12 and the Birth of Impressionism PRESTEL MUNICh · LONDOn · NeW YOrK 5414_5413_Monet_s001-208_und_217-281.indd 3 11.02.15 09:04 CONTENTS 7 WORDS OF GREETINg Klaus-Peter Müller 9 FOREwORD Max Hollein ESSAYS 13 MONET AND THE BIRTH OF ImPRESSIONISm Felix Krämer 29 “BeTween the Motif and Me” Visual Filters and Obstructions to Seeing in the Impressionist Image Nerina Santorius 37 INSTANTS, MOmENTS, MINUTES Impressionism and the Industrialisation of Time André Dombrowski 47 INVITED OR REbUFFED? Exploring the Effects of Early Impressionist Foregrounds Hollis Clayson PLATES PROlOGUe 57 FROm NON FINI TO ImPRESSION The Birth of a New Painting Isolde Pludermacher MaIN SeCtION 79 FROm SALON SUccESS TO AVANT-GARDE PAINTINg Claude Monet’s Artistic Path to Impressionism Dorothee Hansen 97 A STAgE SPEcTAcLE Édouard Manet’s The Universal Exhibition of Paris 1867 Felicity Korn 115 PROVOcATIVELY PRIVATE Claude Monet’s The Luncheon. Farewell to Figure Painting Felix Krämer 137 SPONTANEITY AND CALcULATION Édouard Manet’s The Game of Croquet Marlene Bielefeld 5414_5413_Monet_s001-208_und_217-281.indd 4 06.02.15 16:12 CONTENTS 155 BERTHE MORISOT AND HER CONTRIbUTION TO THE ImPRESSIONIST MOVEmENT Ingrid Pfeiffer 169 THE REAL IN THE ARTIFIcIAL Edgar Degas’ Orchestra Musicians Svenja Mordhorst 183 FORmS OF CONTAcT Auguste Renoir’s After the Luncheon Beate Söntgen 193 THE DEcELERATION OF THE GAZE Claude Monet’s Exterior of Saint-Lazare Station (The Signal) Nerina Santorius EpIlOGUe 207 FLUID WORLD The Cultural-Historical Context of Impressionism Christoph Asendorf ESSAYS 223 OF PEAcEFUL COEXISTENcE AND CONDUcIVE COmPETITION On the Relationship of Painting and Photography at the Time of Impressionism Nele Putz 245 ImPRESSIONISm IN THE CARIcATURE Chantal Eschenfelder 261 COmPOSITION PLANNINg AND PAINT APPLIcATION IN CLAUDE MONEt’s OEUVRE Two Paintings from the Collection of the Städel Museum Eva Bader APPENDIX 267 TEcHNIcAL INVESTIgATIONS OF THE PAINTINgS bELONgINg TO THE STÄDEL MUSEUm Eva Bader / Stephan Knobloch 277 SHORT BIOgRAPHIES Maria Zinser 282 LIST OF EXHIbITED WORKS 287 BIbLIOgRAPHY 294 COLOPHON 296 PHOTO CREDITS 5414_5413_Monet_s001-208_und_217-281.indd 5 06.02.15 16:12 THE EXHIBItION IS SUPPORtED BY MEDIA PARtNERS MOBILI tY PARtNER CULtURAL PARtNER THE AUDIO GUIDE IS ALSO SUPPORtED BY AN EXHIBItION WItH tHE EXcEPtIONAL SUPPORt FROm tHE MUSÉE D’ORSAY 5414_5413_Monet_s001-208_und_217-281.indd 6 09.02.15 15:45 WORDS OF GREETINg The Commerzbank Foundation and the leisure time, the increase in mobility and the overall acceleration Städel Museum have already cooperated in the organisation of life as a result of technical progress all play a major role, of several major exhibitions. This is all the more reason that together with the visual perception of the metropolis. These we at the Commerzbank Foundation, as the main sponsor, are are all matters that affect us today and create a close connec- delighted to be able to open officially the exhibition Monet and tion between this art and our modern life. The works of Monet the Birth of Impressionism together with the Städel. run like a golden thread through this presentation. The impor- Two hundred years ago, in 1815, the Frank- tance afforded to them not only takes into consideration the furt businessman, private banker and patron of the arts Johann artist’s pioneering role in the increasing prevalence of plein-air Friedrich Städel bequeathed his collection to a foundation. painting. Monet’s works illustrate impressively the development This was the origin of the oldest museum foundation in exist- away from large-format figural paintings to smaller landscape ence in Germany today. The Städel is now one of the largest scenes. By moving away from concrete motifs, Monet ultimately collections in the country. Its holdings include 3,000 paintings, pursued the interplay of colour and light to the extremes of 600 sculptures, around 4,000 photographs and more than dissolution in a way achieved by virtually no other artist. 100,000 drawings spanning 700 years of European art history. With this comprehensive exhibition about The opening exhibition celebrating this the beginnings of a new artistic movement that turned against 200-year anniversary is devoted to one of the focal points of the academic style of the time, with its naturalistic tendencies, the house: Impressionism. Starting with early works by the art- the Städel not only invites a wide audience to admire unique ists Claude Monet, Édouard Manet, Alfred Sisley, Auguste works from this era; it goes one step further, since the back- Renoir and Edgar Degas from the Städel’s collection, as well ground information provided in the exhibition makes an active as works by other important Impressionists including Camille analysis of this artistic movement possible. In Monet and the Pissarro, Berthe Morisot and Mary Cassatt, the exhibition high- Birth of Impressionism the Frankfurt museum links the access lights the beginnings of the Impressionist movement from to culture and the transmission of artistic knowledge in an the early years of the 1860s to 1880. The objective is to make exemplary manner. This is fully in keeping with the interests of the visitor aware of the conditions that prevailed when the the Commerzbank Foundation; through our activities, we intend Impressionist movement was developing and the stages it went to make a contribution to the preservation of our cultural heri­ through in reaching its artistic maturity. The exhibition includes tage and to improve the artistic education of society. 100 paintings demonstrating how the significance of what was The Board of Trustees and management represented gradually lost its dominance over the composition of the Commerzbank Foundation look forward to many art itself and how the play of light and shadow became increasingly ­lovers visiting the exhibition. We wish them all an interesting – important for the artists. The extent to which the effect created and, at the same time, stimulating – encounter with the early by this new style of art challenged the viewing habits of the works of Impressionism. time becomes apparent. The main achievement of the exhibi- tion Monet and the Birth of Impressionism is that it not only Klaus-Peter Müller presents the singular artistic phenomenon of Impressionism but Chairman of the Board of Trustees also makes it possible to understand its entire complexity­ with of the Commerzbank Foundation all the detours, digressions and ruptures. Aspects such as the relationship between mankind and nature, between work and 6 / 7 5414_5413_Monet_s001-208_und_217-281.indd 7 06.02.15 16:12 5414_5413_Monet_s001-208_und_217-281.indd 8 06.02.15 16:12 FOREwORD In the year 1910, Georg Swarzenski, the he possessed 17 works by Édouard Manet alone – played a key Director of the Städel Art Institute at that time, wrote to the role in these activities and also assisted the Director of the Lord Mayor of Frankfurt Franz Adickes: “I have been successful ­Berlin National Gallery, Hugo von Tschudi, in his purchases. in establishing contacts with the last living principal representa- The foundation of Bruno and Paul Cassirer’s art gallery in Berlin tives of French art of the nineteenth century and this opened in 1898 gave French Impressionism a permanent presence in up the possibility, which I no longer dared believe in, of obtain- Germany. In 1903, the most important Impressionist exhibition ing some works from them. This will enable us to take our place held so far in a German-speaking country opened in the Seces- in the forefront of modern galleries and I am really happy about sion in Vienna. This helped the movement achieve a break- this. I am already able to present one of Monet’s major works through in that contemporary art recognised it as the funda- whose acquisition represents an event of the greatest magni- ment of its own creative work; the critic Franz Servaes wrote: tude that will also receive a positive welcome from the public.” “Only with Impressionism and never against it, will we be able Swarzenski was referring to the domestic scene The Luncheon to make any progress.” that now forms the centrepiece of the major jubilee exhibition In the following year, the then Director of Monet and the Birth of Impressionism. Around 100 paintings, the Städel Carl Justi purchased Monet’s painting, Houses by including masterpieces of early Impressionism such as Claude the Bank of the River Zaan at the Great Dresden Art Exhibition. Monet’s La Grenouillère, The Boulevard des Capucines and The art historian Julius Meier-Graefe – together with Richard the Musée d’Orsay’s monumental Luncheon, from public and Muther, the mastermind of the exhibition in the Vienna Seces- ­private collections from all over the world have made their sion – found enthusiastic words for the work in his canon-form- way to Frankfurt on this special occasion. With this exhibition, ing book Entwicklungsgeschichte der modernen Kunst (History our museum focuses its attention on a central area of its collec- of the Development of Modern Art), which was also published tion: French art from the nineteenth century. The foundation in 1904: “Is there a more intimate view of the nature of Holland is formed by the house’s own concentrated, high-quality, hold- than this picture with the two extraordinary Baroque houses on ings of early works of French Impressionism that are not only the water! It is much more than a landscape; Monet has almost counted among the masterworks of the collection and favour- captured the spirit of those people who love landscapes of this ites with the public, but are also closely linked with important kind. This is no different to the old Dutch masters who, when events in the history of the institution.
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