Time is running out to see Paris 1874: The Impressionist Moment at the National Gallery of Art! This stunning exhibition on the West Building’s Main Floor, until January 19, 2025, offers a rare glimpse into one of art history’s most transformative periods.
This exhibition transports visitors to Paris in 1874, the year Impressionism was born as a revolutionary movement.
At the time, the art world’s spotlight was firmly fixed on the official Salon, a prestigious annual exhibition that had been a cornerstone of the fine arts since the 17th century. Held in the monumental Palais de l’Industrie, the Salon displayed nearly 3,700 works by more than 2,000 artists, drawing an impressive crowd of over half a million visitors.
Meanwhile, a much smaller exhibition, organized by the Société Anonyme, quietly unfolded less than a mile away in a photography studio. This event, showcasing just 215 pieces, attracted a modest audience of around 3,500 and recorded only four sales.
At the time, the Société Anonyme’s show barely made a ripple in the art world. Yet, with the benefit of hindsight, it has become emblematic of a seismic shift in artistic direction. The academic traditions celebrated at the Salon – epitomized by works like Jean-Léon Gérôme’s gold medal-winning L’Eminence Grise – were soon challenged by the revolutionary ideas of Impressionism. This lesser-known exhibition signaled the beginning of a new era, as artists sought to break free from rigid conventions, paving the way for modern art’s dynamic evolution.
National Gallery of Art’s Paris 1874: The Impressionist Moment
At the entrance to the National Gallery of Art’s Paris 1874: The Impressionist Moment exhibit, two works from that pivotal year stand side by side, embodying a striking contrast in artistic vision. On one side is Jean-Léon Gérôme’s L’Eminence Grise, a masterpiece of academic tradition celebrated at the official Salon. Its meticulous details, dramatic composition, and finely rendered historical figures epitomize the grandeur and precision of the old guard.
On the other side hangs Claude Monet’s Impression, Sunrise, displayed in the Société Anonyme’s revolutionary 1874 exhibition. This smaller, more understated piece departs from rigid formalism, presenting a misty harbor scene where ships, masts, and smokestacks blend into an atmospheric haze. The glowing red sun, its light rippling across water and sky, breathes new life into the art world, embodying the spirit of experimentation and immediacy that defined Impressionism.
Each piece on display captures the energy and innovation of a group of artists breaking free from tradition. Visitors will marvel at Monet’s shimmering reflections, Renoir’s tender portraits, and Morisot’s groundbreaking depictions of modern life. The exhibition also delves into the cultural and social dynamics that fueled the movement, offering a rich context for the groundbreaking works.
“Some focused on scenes of ordinary life, others on plein-air painting, but they were bound together more by social ties and attitudes rather than any consistency of style or adherence to a manifesto.” – Philip Kennicott, Art and Architecture critic
Beyond the masterpieces, Paris 1874 offers a chance to witness the collective spirit of a group that forever changed the trajectory of art. Their daring use of color, light, and everyday subjects continues to inspire artists and audiences alike.
The National Gallery of Art provides an ideal setting for this exhibition, enhancing the experience with its thoughtfully curated galleries and tranquil atmosphere.
Whether you’re a devoted art enthusiast or a curious newcomer, Paris 1874: The Impressionist Moment is a journey worth taking.
Don’t Miss Out!
With the closing date fast approaching, now is the time to plan your visit. Don’t let this opportunity to step into the vibrant world of Impressionism pass you by. Mark your calendars and make your way to the National Gallery of Art before January 19, 2025.
For more information about the exhibition, tickets, and visitor guidelines, visit National Gallery of Art’s website.