By making multiples of closely related subject matter in their paintings, the authors argue, these painters challenged an aesthetic based on the notion of an inimitable, unique masterpiece. In works by Ingres, Delaroche, Gérôme, Corot, Millet, Monet, Cézanne, Degas, and Matisse, the reader can compare closely related versions of some of the most familiar imagery of the 19th and early 20th centuries. In this innovative project, the authors show that the phenomenon of repetition appears as a radical element in early modern painting, long before its embrace by 20th-century high modernism.
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Today serial imagery dominates all forms of visual media, from advertising to conceptual sculpture. Caillebotte uses a subtle compositional prop to vertically divide his paintings in half, a device that, in conjunction with the flaneur’s gaze, allows him to accommodate separate yet simultaneous depictions of the built environment and the motion of everyday human activity. I propose a new way of looking at Caillebotte’s street scenes and suggest the recognition of sub-scenes within these works. While Caillebotte included his own works in the Impressionist Exhibitions, his style does not completely align with typical Impressionist approaches: he celebrates Haussmannian architecture, which the older members avoided, because he was too young to know medieval Paris he paints with calculated brushstrokes, a result of his Academic training at the École des Beaux-Arts and he utilizes photography, a recent technological development, to capture exact details for his preparatory drawings. This paper reveals how Caillebotte participated in, yet also set himself apart from the Impressionist movement. His financial status enabled him to easily fund many of the Impressionist Exhibitions and to collect his friends’ paintings, both of which helped to stir a curiosity about the new art movement. This group could not have flourished without its own member Gustave Caillebotte. The Salon rejected this new style of painting that did not conform to its standards, so the artists responded by establishing their own group Exhibitions. Painters of the Impressionist movement (1870s and 1880s), embraced the art critic Charles Baudelaire’s idea of modernité by walking through the city to observe their ordinary surroundings, painting with loose brushstrokes to convey fleeting moments, and sometimes working en plein air to experiment with the effects of natural light throughout the day.
This urban renewal, Haussmannization, impacted not only city infrastructure, but also the fine arts. During Napoleon III’s Second Empire (1852 to 1870), Georges Haussmann renovated medieval Paris into a modern metropolis.
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