Paris changed the way Parisians interacted. This,in turn, influenced
their private life.
of San Marco (Venice)
| Compared to Canaletto's
Interior of San. Marco, the modern Impressionist artists chose
different perspectives of interiors--in themes that were not as religious
and not as lofty.
Portraits in an Office, New Orleans, 1873
Portraits in an Office, New Orleans , also known as The
Cotton Exchange focuses on a crowded, business-like office
interior. It represents Degas's family's enterprise in New Orleans.
His uncle is seated in the foreground, examining cotton. Near him
is his brother-in-law, reading a newspaper, while his brother is leaning
against the counter on the far left. This is "a day in the life
of" Degas' relatives--male, of course...The figures do not seem
to be interacting visibly with one another, rather, each person seems
to be in his own world.
interiors were accessible, his compositions had a linear quality.
In comparison with works by Morisot or Cassatt (see women
as artists 2, 3, 4)
that focus on the experience of women within a domestic space, Caillebotte's
interiors show him interested with masculine aspects of modern life.
In Caillebotte's Floor-Scrapers, he depicts workers in their
daily routine, and in this way breaks with the strictures of the Academy.
Caillebotte's composition is similar to that used by Degas's Portraits
in an Office, New Orleans. The point of view chosen by Caillebotte,
with its plunging perspective, is a provocation to perception that
would have been frowned upon by the Salon.
This vertiginous space created by Caillebotte evokes a perspective
influenced by photography and film.
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