Impressionism, a toy for rich people and fashionable museums

Impressionism: In a recent performance at the Musée d’Orsay's auditorium in Paris, violinist Marina Chiche skillfully played her violin, her movements mirroring the dynamic strokes found in the exhibition "Paris 1874: Inventer l’impressionnisme" ("Inventing Impressionism") upstairs. The musical piece, a sonatina by Pauline Viardot, might have been an inspiration to the Impressionists and other creatives who frequented Viardot’s renowned salon during the 1870s.

This concert is a segment of an extensive museum initiative designed to immerse visitors into the historical framework that nurtured the emergence of Impressionism. This effort is in collaboration with the National Gallery of Art in Washington, D.C., showcasing the exhibition before it travels to the U.S. in September under the title "Paris 1874: The Impressionist Moment". This exhibit is at the peak of numerous global exhibitions, especially in France, that critique entrenched myths about these artists and explore some lesser-known contributors during the movement's 150th anniversary.

Despite Impressionism's enduring popularity, its ubiquity has led to some critical eyes and a notion of it being mere "pretty pictures" for the affluent, as highlighted by Mary Morton of the National Gallery.

Historically, when Impressionism was budding, journalists of the time voiced concerns that artists like Claude Monet, Edgar Degas, and others were promoting an art form focused solely on pleasure, at the expense of serious, historically themed paintings favored by the traditional Salon exhibitions. Critics back then also ridiculed the group for their seemingly unfinished, sketch-like styles, dubbing it "unhealthy" and "insane."

The term "Impressionist" itself originated from a derogatory comment by critic Louis Leroy about Monet's "Impression, Sunrise" (1872), critiquing its raw, unrefined depiction. Ironically, this criticism helped propel the movement forward. Today, the Musée d’Orsay's exhibition aims to recreate the famed 1874 show alongside the official Salon, offering comparisons that have drawn skepticism for allegedly diminishing the movement’s avant-garde nature.

During the exhibition’s press opening, skepticism was also voiced by a French journalist questioning the potential public disappointment upon seeing lesser-known artworks instead of the popular Impressionist pieces.

The curators emphasized that the initial 1874 exhibition showcased a diverse range of artists, not solely focused on rebellion against the Salon but more on financial motives and a desire for artistic freedom. This nuanced approach aims to rectify oversimplified historical narratives and reveal the complexity of the movement’s origins.

Among the eclectic mix, the exhibition featured some iconic works that still captivate viewers today, like Paul Cézanne’s “A Modern Olympia” (1873-74), Berthe Morisot’s “The Cradle” (1872), and Monet's “Poppies” (1873), alongside what some might still call "pretty" scenes. These works were radical for their time, focusing on everyday life and rapid execution, capturing fleeting moments that resonated deeply with a society.