The Paris of the 1860s and 1870s was supposedly a brand-new city,
equipped with boulevards, cafes, parks, and suburban pleasure
grounds--the birthplace of those habits of commerce and leisure that
constitute "modern life." Questioning those who view Impressionism
solely in terms of artistic technique, T. J. Clark describes the
painting of Manet, Degas, Seurat, and others as an attempt to give
form to that modernity and seek out its typical representatives--be
they bar-maids, boaters, prostitutes, sightseers, or petits
bourgeois lunching on the grass. The central question of
The Painting of Modern Life is this: did modern painting
as it came into being celebrate the consumer-oriented culture of the
Paris of Napoleon III, or open it to critical scrutiny? The revised
edition of this classic book includes a new preface by the
author.
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