Page 151 - (DK Eyewitness) Travel Guide - Paris

ST-GERM AIN-DES-PRES  149

time, such as Emile Bernard and
the Nabis group. There are also
a number of paintings from
his Tahitian period. Works by
Vincent Van Gogh are also
included here.
The Nabis (which included
Pierre Bonnard) tended to treat
the canvas as a flat surface out of
which a sense of depth emerged
as the viewer gazed upon it.
The dream-like visions
of Odilon Redon are in the
Symbolist vein, while the naïve
art of Henri (Douanier) Rousseau
is represented by War (1894)
Olympia (1863) by Edouard Manet and The Snake Charmer (1907).
Impressionism (1895–1900). Van Gogh was Naturalism and
momentarily influenced by the Symbolism
Rouen Cathedral caught at movement but then went his
various moments of the day own way, illustrated here by Three large rooms are devoted
(1892–3) is one of the many works from the collection of to paintings that filled the Salons
works on show by Claude Dr Gachet. from 1880 to 1900. The work of
Monet, the leading figure of the the Naturalists was
Impressionist movement. Pierre- sanctioned by the
Auguste Renoir’s plump nudes Third Republic and
and his young people Dancing widely reproduced
at the Moulin de la Galette (1876) at the time. Fernand
were painted at the high point Cormon’s figure of
of his Impressionist period. Cain was highly
Other artists on display include acclaimed when it
Camille Pissarro, Alfred Sisley first appeared in the
and Mary Cassatt. 1880 Salon. Jules
Edgar Degas and Paul Bastien-Lepage’s
Cézanne are included here, interest lay in
although their techniques Breton Peasant Women (1894) illustrating peasant
differed from those of the by Paul Gauguin life, and in 1877 he
Impressionists. Degas often painted Haymaking, which
favoured crisp Realism, though Neo-Impressionism established him as one of the
he was quite capable of using leading Naturalists. His fairly
the sketchy manner of the Although labelled Neo- free handling of paint was
Impressionists, as, for instance, Impressionism, the work of influenced by what he had
in L’Absinthe (1876). Cézanne Georges Seurat (which includes learned from Manet and his
was more concerned with The Circus from 1891) was quite friends. More sombrely (and
substance than light, as can be unrelated to the older movement. effectively) naturalistic is Lionel
seen in his Apples and Oranges He, along with Maximilien Luce Walden’s view of The Docks of
and Paul Signac, painted Cardiff (1894).
by applying small dots Symbolism developed as a
of colour that blended reaction against Realism and
together when viewed Impressionism and tended to be
from a distance. Jane dominated by images of dreams
Avril Dancing (1892) is and thoughts. This resulted in a
just one of many pictures wide variety of subjects and
by Henri de Toulouse- modes of expression. There is the
Lautrec on display. The over-sweet vision of levitating
work Paul Gauguin harpists, Serenity by Henri Martin
made at Pont-Aven in (1899), Edward Burne-Jones’
Brittany is shown next monumental work Wheel of
to that of younger artists Fortune (1883) and Jean Delville’s
who knew him at the School of Plato (1898). One of the
most evocative paintings in this
Blue Water Lilies (1919) section is Winslow Homer’s lyrical
by Claude Monet Summer Night (1890).

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