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Impressionists in London French Artists in Exile, 1870-1904

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Impressionists in London French Artists in Exile, 1870-1904 PRESS KIT Impressionists in London May 2018 French artists in exile, 1870-1904 21 June – 14 October 2018 Tuesday - Sunday, 10 am - 6 pm INFORMATION Open late: Friday until 9 pm www.petitpalais.paris.fr/en Claude Monet, The Houses of Parliament , London c. 1900-1901, oil on canvas, Mr and Mrs Martin A. Ryerson Collection © 2017. The Art Institute of Chicago / Art Ressource, NY Exhibition organised by Tate Gallery, in conjunction with le Petit Palais. With the backing of #impressionnistesLondres CONTACT PRESSE Mathilde Beaujard [email protected] Tél : 01 53 43 40 14 The Dutch in Paris, 1789-1914, 6 February – 13 May 2018 CONTENTS Press release p. 3 Guide to the exhibition p. 5 Scenography of the exhibition p.11 Exhibition catalogue p.12 Music programme : Brit Sessions p.13 Paris Musées, a network of Paris museums p.14 About the Petit Palais p.15 Practical information p.16 Press officer Mathilde Beaujard [email protected] Tel : +331 53 43 40 14 2 Impressionists in London, 21 June – 14 October 2018 PRESS RELEASE This summer, the Petit Palais is presenting an original exhibition devoted to the many French artists who took refuge in London following the Franco-Prussian War of 1870 and the uprising of the Commune. The ex- hibition plunges the visitor into this troubled period, whose impact on many artists is not widely known. In spite of their social and political differences and their diverse artistic sensibilities, many of them found themselves on the British side of the Channel, where they formed a community of exiles. Organised in conjunction with the Tate, the exhibi- tion presents 140 works borrowed from museums in Britain, including Tate Britain , the Victoria & Albert Museum , and the National Gallery; the United States, including the Brooklyn Museum , the Art Institute of Chicago, the Metropolitan Museum of Art , New York; and also from French museums such as the Mu- Claude Monet, The Houses of Parliament , London c. 1900-1901, oil on canvas, Mr and Mrs Martin A. Ryer- sée d’Orsay. son Collection © 2017. The Art Institute of Chicago / Works by Monet, Pissarro, Sisley , and also by Tissot Art Ressource, NY and Legros , as well as sculptures by Carpeaux, Rodin and Dalou, are contrasted, at specific moments in the exhibition, with works by British artists such as Alma-Tadema and Watts as a means of evoking the networks of solidarity that evolved at that time between French and British artists. The exhibition follows a chronological path, which helps visitors understand what led the French ar- tists to settle in London. Even though some, like Legros, were already living in London, it was the Franco- Prussian War of 1870 that acted as the trigger for a whole spate of arrivals from Paris . The British Empire was at the height of its power and London provided a safe haven. But their choice of destination was also influenced by a belief that there was a more lucrative art market in London. The Parisian art dealer Paul Durand-Ruel opened a new gallery there, which became a base for promoting French painting. The future impressionists were among the first expatriate artists. Monet and Pissarro arrived in London at the end of 1870 and met the older painter Daubigny . The landscapes of London, its parks and gardens and its famous fog became their favourite subjects. However, this first visit was difficult for Monet; he failed to sell his paintings and decided to return to France in the autumn of 1871. Tissot, on the other hand, like Legros before him, had no difficulty in adjusting to London life. Tissot adap- ted his style to an audience that was particularly keen on genre scenes. He depicted Victorian society in meticulous detail through his many portraits and scenes from day-to-day activities such as concerts, balls, picnics, and boat trips on the Thames. It was on the advice of his friend Whistler that Legros moved to Lon- don in 1863, for financial reasons. He married an English woman and soon obtained British nationality. He became the pillar of the French exile community and one of the most respected teachers of painting and drawing in the capital. On the demise of Napoleon III, who had been his great supporter, Carpeaux found sanctuary in London, but he did not enjoy the success he had hoped for. His student, Dalou, who had been a Communard, fled Paris in the spring of 1871 and headed for the British capital, where he spent eight highly productive years. He was well received by English artists and gave lessons in sculpture. The informal subjects of his sculptures were hugely popular with financiers and landowners. Long after these difficult years, impressionists like Pissarro and Monet returned several times to Lon- don. These visits confirmed them in their enthusiasm for working in the open air. The many parks and gardens in the British capital – Hyde Park and Kew Gardens, for example –, and the Thames with its boating pleasures became recurrent motifs in their paintings. From 1899 to 1901, Monet chose the river and the infi- nite variations of light on the water as the subject of a long series of paintings. 3 Impressionists in London, 21 June – 14 October 2018 He painted over a hundred pictures of Charing Cross Bridge, Waterloo Bridge and Westminster Bridge. The paintings of the Houses of Parliament are among the most beautiful. The buildings served as a pretext for immortalizing the view of the Thames and its fogs, which were subject to a multitude of chromatic variations depending on the time of day. The exhibition ends with Derain paying tribute to Monet, in 1906-1907, by painting the same subjects. He defied the master by developing his own artistic expression and proposing a new image of London. Visitors are guided through the exhibition by several mediation devices. A sound track broadcasts the conversations of two English characters chatting about social issues: Arthur Gordon, a journalist who worked in Paris before the war, and his young cousin, Dorothy Bailey, who studied painting in London. Their exchanges provide an opportunity for visitors to discover the artistic controver- sies of the time and to follow them in the places frequented by the French community in London. An interactive table in the «art club» , a space designed like a London club, features a map of the city with 80 entry points giving access to information on artists, personalities, meeting places and the locations depic- ted in the paintings in the exhibition. Finally, the «art studio», an educational space located on the exhibition trail; it evokes a late 19th century artist’s studio. With the help of interactive learning aids and original works (paintings, engravings and sculp- tures), visitors are encouraged to discover and experiment with the techniques of the artists featured in the exhibition. Free activities, for young and old alike, for which reservation is not required, can be enjoyed throughout the exhibition. Camille Pissarro, Kew Green , 1892, huile sur toile, Musée d’Orsay, Paris, en dépôt au musée des Beaux-Arts de Lyon, legs de Clément et Andrée Adès, 1979 © Lyon, MBA – Photo Alain Basset CURATORS: Isabelle Collet , Head curator at the Petit Palais Dr Caroline Corbeau-Parsons , curator at Tate Britain, Christophe Leribault, director of the Petit Palais With academic curatorship from Amélie Simier, director of the Musée Bourdelle. 4 Impressionists in London, 21 June – 14 October 2018 GUIDE TO THE EXHIBITION 1870-1871: Paris at war, Paris in ruins On 19 July 1870, France’s Second Empire government launched an offensive against Prussia. Following the defeat at Sedan, the Emperor capitulated and the 3rd Republic was promptly proclaimed. Hostilities nonetheless continued, and on 19 September, Paris was besieged. The population was forced to wait out the war, their suffering exacerbated by an especially harsh winter, food shortages and bombings. Peace was signed on 26 Fe- bruary 1871. Victorious, Germany annexed Alsace, as well as part of Lor- raine. However, this truce was deemed unacceptable by Parisians. On 29 March, municipal elections brought a left-wing majority to power at City Hall, in contrast with a National Assembly two-thirds of whom were mo- narchists or Bonapartists. The Paris Commune thereupon declared inde- pendence and began passing its own laws. These tragic events prompted a many underemployed artists to leave the capital. Those who remained bore witness to the hardships of the war, such as James Tissot, Ernest Meissonier and Gustave Doré, who volunteered to serve in the National James Tissot, Le soldat blessé, vers Guard. During the Commune, several artists, Gustave Courbet and the 1870, aquarelle sur papier, Tate © young sculptor Jules Dalou among them, played an active role in mana- Tate / Lucy Dawkins ging arts institutions, laying the foundations of a public administration for the arts. In May 1871, the national army put an end to the city’s revolt, at the expense of 20,000 or so civilian lives. During the semaine sanglante (week of bloodshed) several major monuments were set ablaze. Their façades remained in ruins for several years, a desolate spectacle in sharp contrast with frenzied construction Paris experienced during the Second Empire. Arrival in London Claude Monet was thirty-one years old when the war broke out. He left Bougival, stored his paintings in Louveciennes at Pissarro’s home, and moved to Trouville with his companion, Camille Doncieux, whom he mar- ried on 28 June. As the father of a child and lacking a clientele, the painter embarked with his family at Le Havre amongst the throng of French refu- gees fleeing the German invasion, reaching London in September 1870.
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