It's so easy to admire afterwards.
When the story has chewed the work for you, indicated what to like or reject without appeal.
But how can we distinguish the radicality of an event in the moment, without any preparation?
All the dizziness of the exhibition “Paris 1874: Inventing Impressionism”, which opens its doors this Tuesday at the Musée d'Orsay to celebrate the 150th anniversary of the movement, is there.
Make us vibrate, admire, but also waver, hesitate, discern.
Would we have definitely distinguished Sisley's landscapes from those of Bureau or Colin, honest painters presented alongside him during the group's first exhibition, on April 15, 1874?
And why do art textbooks only offer a footnote to Stanislas Lépine, a rehabilitated crush, one of the founders of Monet's group, whom Orsay enjoys rediscovering on the occasion of this birthday ?
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