Word: monetization
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...problem is simply that except for Cassatt, none of the Americans whose work reached toward what was being done in Paris by Monet, Renoir, Degas or Pissarro could consistently perform on a high level. They saw what the French saw; they studied in Paris; some of them even painted the flowers in Monet's garden at Giverny, with the assiduity of students doing the Roman ruins a century before. They were not trivial or maladroit. Yet charm, rather than inspiration, remained the order of the day. No wonder that Childe Hassam, William Merritt Chase, Edmund Tarbell, John Twacht...
...reason why some American impressionist canvases do not look like French impressionism is that they depicted a different kind of glare: a high-keyed white light, rather than a vibrating spectrum of color a la Monet. They were, in other words, tonal rather than coloristic impressionism. Some of the artists who had studied in Paris, notably Childe Hassam, managed to work the authentic French flicker into their surfaces without making it seem heavy handed. Hassam's view of a victory parade in 1918, The Union Jack, New York, April Morn, with its vibrant banners hanging over a throng...
...better than France's First Lady to open what could become France's First Garden? A palette of colors again are the grounds at Giverny that Impressionist Claude Monet planted and painted for 43 years. They withered after he died in 1926, but are now restored. Indeed, a photograph of Anne-Aymone Giscard d'Estaing, backdropped by blossoms, looked a little like a Monet...
...Western painting. At its beginning, masters like David and Ingres were producing canvases that Da Vinci or Titian, Botticelh or Durer could have seen without shock, even with admiration, recognizing them as descendants of their own styles. But the work of the painters at century's endMonet's broken colors, Van Gogh's unabashed brushstrokes, Cezanne's blocky formsthey would have regarded with stunned astonishment, perhaps even outrage...
What was the anti-impressionist reaction of the 1880s all about? Partly, subject matter, the issue of what painting could express. Impressionism had been the art of the bourgeois paradise, naturalism unmodulated by idea. It had no content beyond the "view" ("Monet is only an eye," Cezanne said, "but good God, what an eye!"), no governing system of imagery, no symbols. To younger artists, it therefore seemed lax and unambitious. They wanted to return painting to a more demanding kind of diction ?exemplary and grand, like the art of the museums. All manner of stylistic sources fed into their...