When my husband and I visited northern France recently, one of our delights was to enjoy Impressionist art in two Paris museums that have large Impressionist collections, see as many of Monet’s cathedral and haystack paintings as possible, and travel to the sites where Monet painted them.
When Impressionist art finally caught on and began to sell, Monet bought a farmhouse and land in Giverny, just an hour by train west of Paris near the Seine River. He devoted years and lots of francs to creating and painting his gardens and also spent much time on several series of paintings that highlight his passion to show how light constantly changes an object, (haystacks, poplars, cathedral) depending on time of day or weather.
We planned and followed our own “Monet Trail” from Paris to Giverny and on to Rouen in Normandy.
We began with Musee d’Orsay in Paris. (In the left photo above, Musee s’Orsay is to the left of the Eiffel Tower. Photo taken from the Tuileries)
Musee d’Orsay began as Gare d’Orsay, a large, ornate train station
across the Seine from the Louvre, serving trains coming from southwestern France, but by 1939 the trains had outgrown its short platforms. The station eventually faced demolition, but in the 1970s it was listed as an historical monument and saved. An idea surfaced to turn the station into a museum for Impressionist and Post-Impressionist art, which didn’t fit the Louvre, whose collection ended in the mid 1800s, or the Pompidou Center, which houses more modern art—think Picasso.
So Gare d’Orsay reopened its doors in 1986 as Musee d’Orsay, and once again people rush to get in.
You must still run a gauntlet of shops, but instead of food and neck pillows, posters, paint sets, and umbrellas, all with Impressionist scenes, tempt you.
We resisted and emerged into a huge open space. Beneath its soaring glass roof, trains once pulled in, slowing to a stop at platforms where travelers waited to board.
A gold decorative design still climbs the walls and arches across the roof. A large, gilded clock that once helped passengers get to their trains on time, still hangs high above.
Look back at the old station photo above to see the clock and that the walls and roof haven’t changed much.
But statues now stand where the tracks ran, and people now step into galleries of Realist paintings (Millet, Corot, etc.) and Post-Impressionist works (Van Gogh, Seurat, etc.) instead of into trains.
We would come back to those, but hoping to beat the crowds, we walked to the far end of the museum to take a series of escalators to the very top, where under the roof, rooms of incredible Impressionist art follow one another like train cars.
We spent several happy hours with colorful and light-filled paintings by Monet, Pissarro, Degas, Morisot, Renoir, Cassatt, and others. And among the paintings, we saw several from Monet’s haystack and cathedral series!
We took time to look out at Paris through the 2 mammoth clocks way up there under the roof and stroll on the balcony that gives amazing views of the Louvre all the way to Sacre Coeur on top of Montmartre. A bright beginning to our vacation!
And how wonderful that France has preserved this historic station and used it so appropriately for displaying Impressionist art. I’ll explain why it’s so appropriate in an upcoming post. But my very next post will be about another terrific, but lesser-known, collection of Impressionist art in Paris.
The Impressionists had many things in common such as their colorful modern subjects, but some preferred landscapes, while others enjoyed painting people.
Look at a few paintings by the following artists, and you’ll soon see what each preferred. But also notice the subtle differences between types of landscapes or types of people. Monet vs. Pissarro; Degas vs. Renoir. And why do you think the women, Berthe Morisot and Mary Cassatt, concentrated on family life? Was that just their preference or was there another reason? Let me know what you think!
Molly loves the Paris lifestyle!
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Except for the old postcard of Gare d’Orsay, all photos in this post were taken by the author.