Loie Fuller was an American dancer who moved to Paris and became a regular at the Folies Bergère. There are three of author Victor Hugo, whose vision of his city remains a touchstone for readers. The curators suggest Paris’ rich cultural history through portraits of luminaries. And what a boon to artists of the period who emphasized the voluptuous silhouettes of era attire. They figure prominently here in images of women at the milliner, entertainers’ costumes and high society. In exploring the personalities of Paris, the curators offer plenty of examples of the well-dressed Parisienne, like the fur-laden lady walking her little dog (a common fashion accessory) in the Bois de Boulogne in Jacques-Henri Lartigue’s photo. In addition to their more, um, pedestrian uses, the streets of late 19th-century Paris were also fashion runways. Leave it to Honoré Daumier to find the humor in the minor discomforts of city life – a rotund woman crowding another woman seated on a bus in his lithograph, Madeleine-Bastille. Louis LeGrand captured the bustle of busy Parisians in his charming drawing, The Train Station at Batignolles, while Georges Stein portrayed the crowded outdoor cafes in The Society Party. Most of the artists in the exhibition explored the excitement of their time. Even his photo of Le Moulin de la Galette, a 17th-century windmill atop Montmartre, seems more a reminder of the area’s agrarian past than the 19th-century entertainment district over which it towered when the photo was taken. One might contrast, for instance, two etchings of Notre-Dame: John Taylor Arms’ view across the Seine River relays its Gothic grandeur, while Charles Meryon’s The Vampire brings us face to face with one of its gargoyles, a menacing vision representing another kind of gothic.Įugène Atget, the preeminent photographer of pre-modern Paris, imbues his views with a whiff of melancholy. Photographer Eugène Atget captured images of musicians and buskers.Įinecke and curatorial research associate Caroline Giddis organized the exhibition around four interlocking themes that encourage visitors to do their own flâneuring.Īlong the way it is interesting to note the variety of ways artists chose to depict their own observations and visions. ![]() In the mid-19th century, French poet Baudelaire coined the term flanêur to describe those, often artists and writers, who strolled the city observing its people and places. Michael Schlossberg, they form an engaging snapshot of that beloved capitol - its rich architecture, vibrant streets, cultural richness and sassy nightlife. Bunzl Family Curator of European Art, has liberated a group of prints, drawings, photographs and sculptures from the storeroom to mount In the City of Light: Paris, 1850-1920.ĭeftly woven together with loans largely from the collection of Dr. The High Museum of Art, for instance, typically displays eight percent of its 19,000-plus pieces. Most museums display a fraction of their holdings, even as they continue to seek and acquire new works.
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