Impressionism occupies a funny space between bourgeois blah and revolution. A Monet can come across as genre-changing or as wallpaper; a Degas, visionary or musty, depending on the viewer’s mood. This is one of the more intriguing aspects of the movement—the Trojan horse aspect in which it brought pivotal change to modern art while often seeming simply lovely. Gustave Caillebotte’s (1848—1894) artwork is a good example of this, and the subject of Impressionist Paintings from Paris to the Sea at the Brooklyn Museum, through July 5.
This exhibition comprises more than 30 paintings, including a number of significant works from private collections, such as Oarsman in a Top Hat (1877-78). It comes three decades after BMA hosted the first significant American show of his work. read more
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