Impressionists on Stage

Landscapes of France: Impressionism and its Rivals 1995

an exhibition at the Hayward Gallery, London, May 18 to August 28,

Impressions of France: Monet, Renoir, Pissarro, and their Rivals October 4, 1995 to January 14, 1996.

the same exhibition, retitled, at the Museum of Fine Arts, Boston,, Catalog of the exhibitions by John House, with contributions from Ann Dumas, by Jane Mayo Roos, by James F. McMillan
Hayward Gallery/Museum of Fine Arts, Boston/South Bank Centre, 304 pp., $29.95

Claude Monet 1840–1926 26, 1995

an exhibition at the Art Institute of Chicago, July 22 to November, Catalog of the exhibition by Charles F. Stuckey, with the assistance of Sophia Shaw
Art Institute of Chicago/Thames and Hudson, 282 pp., $50.00; $29.95 (paper)

Monet to Matisse: Landscape Painting in France 1874–1914 Edinburgh

an exhibition held in 1994 at the National Gallery of Scotland,, Catalog of the exhibition by Richard Thomson, with an essay by Michael Clarke
National Gallery of Scotland, 199 pp., £35.00; £15.95 (paper)

Floating on the sea of memory is an anecdote about a young artist—I think it was Géricault—whose teacher told him that his paintings resembled nature the way a violin case resembles a violin. So, too, an exhibition of paintings and its catalog are related in much the same way as a violin case and a violin. To the extent that a catalog molds an exhibition, it is like a violin case, and because viewing an exhibition is a temporal and mostly visual experience, it can be likened to a musical performance, temporal and mostly auditory. There is some resemblance in the shapes of exhibition and catalog, but one cannot substitute for the other. Sometimes the case is more elaborate than the instrument.

Since the 1950s, catalogs of major exhibitions have steadily grown in size and are now lavishly illustrated, with literally weighty texts. They are marketed as books by trade publishers, and the shops in large museums have become major bookstores in their own right. Catalogs can therefore be considered art books as well as complementing the exhibitions they accompany. I shall discuss the three catalogs under review somewhat differently since I visited the London and Chicago shows and can comment on their installations, but I did not see the one in Edinburgh and will have to treat its catalog primarily as a container or case.

Chicago’s Claude Monet is a celebratory presentation of the most popular of the Impressionists (he is given more room in the London and Edinburgh shows than Cézanne or any other of his peers). Such a skeletal “life” is evidently intended to provide the means by which one may interpret the reproductions, not the paintings, for it is too unwieldly to consult while visiting the exhibition itself.

Of the three catalogs, Stuckey’s is the most like a violin case, in making no attempt to match the elegance of the performance it shelters. Once the visitor has passed through the forbidding marble mausoleum that fronts Michigan Avenue, however, he comes upon Stuckey’s installation with intense pleasure. Instead of the neoclasical room dividers that have been a museum vogue recently, we find plain walls that do not call attention to themselves, including portable walls that sometimes rearrange the spaces to suit chronological and visual groupings. Most rooms have one or two large wall texts that present informative commentaries on the artist’s life and work, the kind of annotation that Stuckey’s catalog lacks. Referring to …

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