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CULTURE

Paris museum takes visitors back 150 years to Impressionism’s birth

The Orsay Museum in Paris is marking 150 years of Impressionism from Tuesday with an unprecedented reassembling of the masterpieces that launched the movement, and a virtual reality experience that takes visitors back in time.

Published: 24 March 2024 18:35 CET
Updated: 26 March 2024 08:52 CET
A person looks at Edgar Degas'
A person looks at Edgar Degas' "Three dancers in blue skirts and red corsages" painting from around 1903 during the exhibition "Degas at the Opera" at Museum of Orsay in 2019. The Paris museum is marking 150 years of Impressionism from Tuesday with a reassembling of the masterpieces that launched the movement. Photo: AFP / FRANCOIS GUILLOT 

Using VR technology, visitors to “Paris 1874: Inventing Impressionism” can take a plunge into the streets, salons and beauty spots that marked a revolution in art.

Through VR helmets, they can walk alongside the likes of Claude Monet, Edgar Degas and Paul Cezanne on April 15, 1874, when, tired of being rejected by the conservative gatekeepers of the official art Salon, these rebellious young painters put on their own independent show, later seen as the birth of Impressionism.

The Orsay has brought together 160 paintings from that year, including dozens of masterpieces from that show, including the blood-red sun of Monet’s “Impression, Sunrise”, credited with giving the movement its name, and his “Boulevard des Capucines” where the exhibition took place.

READ MORE: Places to visit and things to do in France in Spring 2024

In rapid, spontaneous brushstrokes, the Impressionists captured everyday scenes of modern life, from Degas’s ballet dancers to Camille Pissaro’s countryside idylls to Auguste Renoir’s riverside party in “Bal du Moulin de la Galette”.

They came to define the excitement and restlessness of a new, modern age emerging out of a devastating war with Prussia and a short-lived Parisian revolt a few years earlier.

“The Impressionists wanted to paint the world as it is, one in the midst of major change,” said Sylvie Patry, co-curator of the exhibition.

“They were interested in new subjects: railways, tourism, the world of entertainment… They wanted to put sensations, impressions, the immediate moment at the heart of their painting,” she added.

‘Nuanced’

Thanks to loans from the National Gallery in Washington and other museums, it is the first time that many of the paintings — including Renoir’s “The Parisian Girl” and “The Dancer” — have hung together in 150 years.

The exhibition also includes works from that year’s official Salon, showing how the Impressionists rejected the stiff formalism of traditionalists and their obsession with great battles and mythological tales, but also how there was some cross-over, as all sorts of painters gradually adopted new styles.

“The story of that exhibition is more nuanced than we think,” said Patry.

“The artists all knew each other and had begun painting in this different style from the 1860s.”

Impressionism did not take off immediately: only some 3,500 people came to the first show, compared with 300,000 to the Salon, and only four paintings were sold out of some 200 works.

It would take several more exhibitions in the following years for the movement to make its mark.

The Orsay exhibition runs to July 14th and moves to Washington from September.

The virtual reality experience has been extended to the end of the Paris Olympics on August 11th.

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CULTURE

Backstage artisans keep Moulin Rouge kicking

Even with the famous sails of its windmill gone, the Moulin Rouge never lets up: twice a night, 365 nights a year, in a whirlwind of feathers, rhinestones and sequins.

Published: 6 May 2024 08:13 CEST
Backstage artisans keep Moulin Rouge kicking

The sails of the 135-year-old cabaret in the Montmartre district of Paris collapsed last month — the cause remains unknown.

But with some 1,700 spectators still coming every evening, the show must go on. And while the 60-strong troupe of “Doriss Girls” — named after legendary choreographer Doris Haung — get all the attention, creating and maintaining their costumes is another huge and highly skilled job.

The show has daunting annual requirements: nearly 1,000 tailor-made outfits each requiring up to 250 hours of assembly, 800 pairs of shoes, and not forgetting the three kilometres of ostrich-feather boas.

READ MORE: 5 things to know about Paris’ iconic Moulin Rouge

The clacking of sewing machines backstage is a near-constant soundtrack before and after — and sometimes during — shows.

“We are on every evening. The costumes wear out… But the show must always be the same, at the highest quality,” the cabaret’s general director, Jean-Victor Clerico, 38, told AFP.

In the same family for four generations, the Moulin Rouge started buying up small artisan workshops in the 2000s — partly experts in featherwork and embroidery — that were struggling to survive in modern-day Paris.

“These artisans are a living heritage that risked disappearing, and they are essential for the show,” said Clerico.

“It was the duty of the Moulin to perpetuate their existence and allow the transmission of their knowledge to younger generations,” he added.

Mine Verges, 88, a costume designer since the 1960s, was one of the first to come under the Moulin’s umbrella.

Her workshop supplies and maintains the troupe, as well as many other clients.

“The most complicated costumes are those of the cabaret. Everything must be much more solid than normal clothing, and when there are feathers, it must above all be pleasant for the dancers,” she told AFP.

“Le Moulin was the first cabaret with whom I worked and it will be the last,” she said, adding that she was pleased her savoir-faire will be passed down.

Featherwork

Supplier to haute couture houses such as Hermes and Louis Vuitton, Maison Fevrier was set up in 1929 and is the last featherwork workshop in the heart of Paris.

Its “plumasserie” (fine feather work) has been officially recognised as a “living heritage” by the French government.

It became part of the Moulin family in 2009 and handles some three tonnes of ostrich, pheasant and rooster feathers for the cabaret each year.

Embroidery is handled by Atelier Valentin using the ancestral technique of Luneville crochet and chain stitch.

“The marvellous has always fascinated me. There is no limit to what you can embroider: sequins, pearls, rhinestones, repurposed metal pieces… The only imperative for a stage costume is to be strong,” said its director, Caroline Valentin, whose other clients including the Paris Opera, Disney, Givenchy and the Academie Francaise.

Shoes are another integral part of the show, especially for the energetic high-kicking antics of the Can-Can that conclude every evening.

Clairvoy, a cobblers founded in 1945, has been part of the Moulin’s operation since 2007.

Nicolas Maistriaux, 45, and his team make the troupe’s shoes, taking up to 60 hours to assemble each pair, not counting their maintenance and renewal when the dancers’ heels wear them out.

Kylie Minogue also called on Maison Clairvoy for her recent tour.

“Our jobs are rewarding beyond anything,” said Valentin. “We have the absolutely immense chance to create beauty… That’s what artistic craftsmanship is all about.”

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