It’s one of the stranger anomalies of French intellectual life that Impressionist painting—by far the most influential of French cultural enterprises— has received so little attention from the most ambitious French critics and philosophers. One can page through André Gide’s journal entries, a lot of them on art, or through Albert Camus’s, and find very little on Claude Monet or Edgar Degas (and much more on the Symbolists, a group that was far easier for a literary man to “get”). Marcel Proust cared passionately for painting, and his heropainter Elstir has touches of Monet, but in order to make him interesting Proust had to model him on the more histrionic James McNeill Whistler, with samplings from a forgotten American painter added in.
The absence isn’t that hard to explain. Impressionism, though profound, isn’t philosophical. Symbolism and Surrealism have an agreeably articulate aesthetic, a body of poems, a point of view. Impressionism is mostly silent. Its implicit credo is empirical and material: there is a stubborn physicality to it— bodies and babies and wheat fields and boulevards. It does not make an argument, except in the way art does, by being art. And yet museums provide the one test that matters most, the test of the crowded room, and the most crowded remain the Impressionists’, marking, as Cyril Connolly once suggested, one of the last instances of a valid myth in Western art: the Impressionist myth of bourgeois pleasure.
Esta historia es de la edición January 01 - 08, 2023 (Double Issue) de The New Yorker.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 8500 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición January 01 - 08, 2023 (Double Issue) de The New Yorker.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 8500 revistas y periódicos.
Ya eres suscriptor? Conectar
A Reporter at Large – You Make Me Sick
How corporate scientists discovered—and then helped to conceal—the dangers of forever chemicals.
OLD ENGLISH
“Player Kings,”\"The Cherry Orchard,” and \"London Tide.”
THOROUGHLY MODERN
Yuja Wang uses her star power to lead audiences out of their comfort zones.
THE PERFECTIONIST
Why we're still catching up to Brancusi.
DESERT ISLAND
Tastes of Hawati abound in Las Vegas.
HIGHER AND HIGHER
To preserve humanity—and the planet—should we give up growth?
MAXED OUT
“Furiosa: A Mad Max Saga.”
WOMAN, FROG, AND DEVIL
January Wojnicz, a retired civil servant and a landowner, was a splendid man, as they said in Lwów, handsome and dignified.
THE STASI FILES
Piecing together the secrets of East Germany’s past.
LAND OF MAKE-BELIEVE
Zach Horwitz was a mystifying presence on the big screen, until the F.B.I. showed up.