Where? Gallery 243 of The Art Institute of Chicago
What do you see? Behind a balustrade in one of the most popular nightclubs in Paris, three men and two women sit at a table, leaning into conversation. There are drinks on the table and each member of the party wears a fancy hat. The woman with orange hair is Jane Avril, a famous entertainer. Behind their table, one tall and one short man are passing by. In the right background, two women stand by a green mirror. The one fixing her hair is dancer La Goulue.
Looking deeper into the room, there are many more guests sitting at tables with yellow lights hanging above them. Such a light may hang above the dancer May Milton in the left foreground. She stares at us with her bright teal skin, and her features have become grotesque and distorted under the harsh nightclub lights.
Backstory: In the risky neighborhood of Montmartre, Paris, nightlife flourished through the end of the 19th century. People of various classes came to the nightclubs and dance halls in Montmartre to experience a social life unlike any other. In its heyday, the area was actually quite dangerous, but it has since been romanticized and sensationalized so that images and music associated with it evoke great nostalgia.
Henri de Toulouse-Lautrec frequently visited the Moulin Rouge, a nightclub in the neighborhood. As such, he was very familiar with the other regulars. In At the Moulin Rouge, he was able to capture these characters on canvas and portray the true grunge of the Paris nightlife culture. Using bright colors and thick brush strokes, Toulouse-Lautrec paints in an Avant-Garde style, apt for his subject matter.
What is the Moulin Rouge? Established in 1889, the Moulin Rouge was a cabaret and nightclub located in the Montmartre district of Paris. Featuring live performances from the stars of Paris, drinks, and room for socialization, the Moulin Rouge was a truly modern space. The iconic can-can dance was first performed at the Moulin Rouge, and, at the time, it was considered a very improper dance.
Henri de Toulouse-Lautrec created several advertising posters for the Moulin Rouge, as well as several paintings of the Moulin Rouge. Among those paintings are At the Moulin Rouge: The Dance in the Philadelphia Museum of Art and La Goulue at the Moulin Rouge in the Museum of Modern Art.
Who is Toulouse-Lautrec? Henri Marie Raymond de Toulouse-Lautrec was born in Albi, France in 1864 to a wealthy family. As his mother and father were first cousins, Toulouse-Lautrec suffered from congenital health issues that affected his bones and growth. Due to these health issues, he became slightly isolated from society and spent his time making art. Painting in the Post-Impressionist style and printmaking in the Art Nouveau style, Toulouse-Lautrec captured the Bohemian lifestyle of 19th-century Paris. This was the lifestyle Toulouse-Lautrec immersed himself in Montmartre’s Moulin Rouge. He created a series of posters advertising the cabaret and displayed his artworks there.
Fun fact: The two men walking behind the table in the center of the painting are actually Henri de Toulouse-Lautrec himself and his cousin, Dr. Gabriel Tapié de Céleyran.
Where? Gallery 201 at The Art Institute of Chicago
What do you see? A busy, rainy street near the Saint-Lazare station in Paris. The canvas is divided in half by an axis, a tall green streetlamp. Walking on the right of it, in the foreground, are a couple dressed in the latest Parisian fashion. As they walk arm in arm beneath an umbrella, looking off to the left side of the canvas, a stranger passes them with his back to the viewer. Judging by the young woman’s brown dress and diamond earring, the pair are likely of the upper class. The men in the middle ground appear to be dressed in a similar fashion.
Further down the canvas are some traces of the working class. Behind the man’s umbrella, a painter dressed in white carries a ladder across the street. Behind the woman, a baker looks out her window. Two carriage drivers can be seen on the left side of the street lamp.
Backstory: Exhibited at the Third Impressionist Exhibition in 1877, Paris Street; Rainy Day was celebrated by many. The natural scene of a real Parisian street painted in a realistic fashion calls back to Caillebotte’s interest in photography. However, the painting’s style cannot be characterized as entirely realist or academic.
Caillebotte features an unusual asymmetrical composition and cropped figures. On the right side of the canvas, the man and woman’s legs are out of frame and the stranger with his back to the viewer is split in half. This detail may be overlooked by modern viewers but was considered radical by Caillebotte’s contemporaries. The cropped composition may have been inspired by his interest in photography.
Featuring unsaturated colors and dim light, the painting has a gloomy and slow feeling. Subtly showing the division between the bourgeoisie and the working class, Caillebotte’s palette suits the daunting disparity that is most heavily felt by the workers.
Who is Caillebotte? Gustave Caillebotte was born in 1848 in Paris and died in Gennevillers in 1894. He grew up in a wealthy family and began painting in the studio of Leon Bonnat. In 1873, Caillebotte began his studies at the École des Beaux-Arts and shortly after became acquainted with Pierre-Auguste Renoir and Claude Monet.
With his money, he was able to support many artists like Edgar Degas, Camille Pissaro, and Alfred Sisley. Although he did not participate in the first one, Caillebotte exhibited eight paintings in the Second Impressionist Exhibition of 1876, one of which was The Floor Scrapers in the Musée d’Orsay. Caillebotte’s academic style combined with an Impressionist influence produced a unique and modern style of art.
Never truly sticking to one style of painting, Caillebotte aimed to depict modern life for what it really was in the realist sense. Nonetheless, an Impressionist influence is evident in his loose brushstrokes and “cropped” paintings.
Fun fact: On the ground floor of the center building in the background, there is a green “pharmacie” sign with yellow letters. Nowadays, the same building, located in between Rue de Moscou and Rue Clapeyron, still has a pharmacy.
Where? Gallery 225 of the Art Institute of Chicago
What do you see? The sea as seen from Boulogne-sur-Mer, a French beach town on the English Channel, about 60 miles (100 km) South of the border between Belgium and France. Compared to seascapes by earlier artists, Manet used a high horizon line in his paintings, such that the biggest part of this painting is made up by the sea and the ships. Among the numerous sailboats is a steamboat which pollutes the view and the sky with its dark smoke.
The steamboat is leaving from France to England through the English Channel. It leaves a visible trace in the water showing that it has to navigate its way through the asymmetrically scattered sailboats.
Manet uses broad, horizontal brush strokes to paint the sea. Moreover, he uses blue and green pigments for the sea, and in some places, traces of the white canvas are still visible. These relatively bright colors make the sea the focus of the painting. The sea appears flat and calm, and this painting is the most abstract of the seascapes that Manet painted.
Backstory: In July 1864, Édouard Manet went with his extended family on a vacation to a seaside resort in Boulogne-sur-Mer, France. It was not just a vacation for Manet because he brought his brushes and easel and created several paintings of the sea and the ships. It was one of the first times that he worked on paintings outside, though he finished the painting in his studio in Paris.
In this painting, he depicts an ugly steamboat among the more graceful sailboats. The first steamboats were developed by the end of the 18th century, and they were an important development as they could carry passengers and freight over large distances. In addition, they were an important innovation for the Navy, and they played an important role in the American Civil War.
Seascapes: Sometimes referred to as Marine Art, the primary theme of the seascape is the sea. Its popularity has come in waves. For example, during the 17th century, seascapes were popular among Dutch artists. During the Dutch Golden Century, artists from The Netherlands painted scenes of sea battles. These paintings were very detailed and showed all the ongoing action of these battles.
Seascapes became popular again among painters in the 19th century, especially after train connections between Paris and the French beaches were established around 1850. Besides Manet, painters like Courbet, Monet, Renoir, and Whistler created beautiful seascapes.
However, J. M. W. Turner had already popularized the theme in the early 19th century. An example of a seascape painting by Turner is The Fighting Temeraire in the National Gallery in London, which he painted in 1838.
Almost three decades later, Manet also started to paint several seascapes. One of his more popular seascapes is his 1864 painting of the Battle of Kearsarge and the Alabama in the Philadelphia Museum of Art. The big difference between the 19th-century and 17th-century seascapes is that during the 19th century many details were left out of the paintings and the focus became the composition instead.
Who is Manet? Édouard Manet (1833 – 1883) was a French painter from Paris, France. He painted Steamboat Leaving Boulogne relatively early in his career. Manet’s paintings during that period were unconventional and were not well-received by art critics and the public. The Paris Salon, the biggest art exhibition in the world during the 19th century, rejected most of his works.
Manet also only sold few works and did not receive commissions. However, he persisted in his new style of painting during his career, relying on the financial support of his mother. Nowadays, his works are very popular. A good example is The Rue Mosnier with Flags from 1878 which was acquired by the Getty Museum in 1989 for $26.4 million.
Fun fact: Manet had always been fascinated by the sea. Following the suggestion of his father, he joined a training vessel for a three-month trip to Rio de Janeiro when he was 16 years old. He liked this experience and when he returned in 1849, he attempted the entrance exam to the Navy. However, he failed the entrance exam twice and decided that he wanted to become a painter instead – which was his first love – much to the dislike of his father.
Art lovers nowadays are happy that he became a painter instead. Not only are his works highly admired today, he also has had a major influence on the development of Impressionism, which has become one of the most popular painting styles ever developed.
Interested in a copy for yourself? Poster or canvas
Where? Many museums own a woodblock print of this work, including the Art Institute of Chicago, British Museum, Metropolitan Museum of Art, and the Museum of Fine Arts in Boston, but this work is usually not on permanent display.
What do you see? A giant wave off the shore of the Kanagawa prefecture dwarves three boats — one in the foreground, one in the middle ground, and one in the background. The perfect curves of the wave’s form the relentless rocking feeling that terrifies the occupants and rowers on the tiny boats. Perhaps they are fishermen. Above them, it’s raining seafoam, represented with delicate white specks and claw-like crests.
In the distance, standing before a grey haze is Japan’s great Mount Fuji. The mountain balances the downward curve of the wave while emphasizing the enormousness of the wave.
Backstory: Hokusai created The Great Wave as part of a series of landscapes titled Thirty-Six Views of Mount Fuji (Fugaku sanjurokkei). Mount Fuji, a sacred spiritual site in Japanese culture, appears in every print in the series, but is not conspicuous in every piece. Often, it appears in the background of the prints such as in the case of The Great Wave off Kanagawa.
The scenes that Hokusai created surrounding Mount Fuji were drastically different, varying in season, setting, and overall atmosphere. There are serene scenes such as Inume Pass in the Kai Province, lonesome scenes such as Tama River in Musashi Province, and intense scenes like The Great Wave.
Showing the important landmark from several locations, Hokusai emphasized the permanence and stillness of Mount Fuji. No matter the condition of life, the mountain would remain exactly where it stands.
Ukiyo-e: Ukiyo-e, meaning “pictures of the floating world,” was the major art style of the Edo period, which was popular between 1603 and 1868 in Japan. During this time, under the rule of the Tokugawa shogunate, ideas like sensuality and tranquility were promoted, prompting the creation of a genre of art depicting leisurely daily life.
Ukiyo-e began on silk screens depicting life in the urban sphere. The genre blew up when ukiyo-e artists began creating woodblock prints. The medium allowed for mass production and mass consumption. These images of courtesans, kabuki, daily activity, and nature soon spread to Europe once Japan opened its ports in 1853 spurring the Impressionist movement and inspiring artists such as Van Gogh, Gauguin, and Toulouse-Lautrec.
Who is Hokusai? Katsushika Hokusai was a prominent printmaker and painter of the Edo period. He was born in 1760 and died in 1849 after a long career of art making. When he was 19 years old, he studied under Katsukawa Shunsho who gave him the skills to begin producing his own unique artworks when he was 20. After a dispute with his teacher, Hokusai ended his studies and began making sketches for woodblock prints that would be turned into picture calendars alongside his own prints of portraits of women. Soon he became a major player in the ukiyo-e movement, competing with Hiroshige and creating illustrations and paintings for popular fiction books.
A practicing Buddhist, Hokusai paid special attention to nature, and, in his own time, he produced many landscape paintings and prints including Thirty-Six Views of Mt Fuji in which his unique style became more prominent. He also painted birds and flowers with bright, intense colors. Hokusai was careful to depict daily life without any exaggerations but with great beauty.
Towards the end of his life, Hokusai grew weak in both his health and skill. Nonetheless, before his death at the age of 89, Hokusai created numerous works depicting mystical images such as demons and dragons, a change of pace from his typically realist style.
Fun fact: French composer Claude Debussy is said to have been influenced by Hokusai. When Japan opened its ports in 1853, the japonisme movement took over Europe. People quickly got their hands on Japanese goods like furniture and artwork that they would use to decorate their homes. As a student in Rome, Debussy frequently purchased Japanese goods. One of the prints that he discovered and hung on the walls of his home in Paris was The Great Wave which is said to have inspired his masterpiece, La Mer.