Giverny, home and inspiration to Claude Monet.
Maximilien Luce (1858–1941) was a trailblazer of Neo-Impressionism and key figure in anarchist and libertarian communities. Leaving an indelible legacy through his deep artistic and political passions, his paintings of urban and rural scenes as well as the human experience reflect the social and industrial shifts of his time. Although his stunning landscapes take center stage in this exhibition, he also portrays subjects that were unexplored by his fellow Pointillists, such as workers in motion.
The humanistic spirit at the core of his work defines its essence, yet landscape remains a central theme that energized his art throughout his career. With a distinctive sensitivity, Luce masterfully portrays light and color. This exhibition showcases his artistry and brings his frequently underappreciated work to a wider audience.
Luce lived on rue Cortot from 1887 until 1899, just steps from where this exhibition, the first Paris retrospective since 1983, is now being held. — BPJ
Taking in views of the distant Montmartre hill at the Orsay Museum where rooms overflow with works of many of the Impressionists who lived there.
Passersby at #54 rue Lepic where Dutch artist Vincent Van Gogh lived for two years with his brother Théo, an art dealer, usually have to be satisfied with the small plaque on the wall outside.
Above: a peek inside
A sign inside a Montmartre real estate agency reads, "The street artists are the new Impressionists."
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In the late 1800s, the official Paris Salon dominated the French art world, enforcing rigid academic standards for what qualified as acceptable "art." Works that didn't conform were often rejected, but in 1863, Emperor Napoleon III established the Salon des Refusés - an exhibition for these “rejects" - following widespread complaints about the Salon's overly strict jury. This alternative showcase highlighted innovative painters, including early figures like Édouard Manet, and helped legitimize avant-garde styles. It paved the way for independent exhibitions, weakening the Salon's monopoly. By 1874, a group of rebellious artists - including Claude Monet, Pierre-Auguste Renoir, and others - organized their own show outside the traditional system. Art critic Louis Leroy reviewed it mockingly in the newspaper Le Charivari, deriding Monet's painting Impression, Sunrise, as a mere “impression" - unfinished and sketchy, like wallpaper in its early stages. Intended as an insult, the term "Impressionists" stuck. The artists embraced it proudly, and their independent exhibitions continued, ultimately revolutionizing modern art as the once-dominant Paris Salon faded into obsolescence, much like the horse and buggy, in an era of change. - BPJ