Art Gallery of Ontario (AGO)
Opening Feb. 16, 2019
Pulsing with life, Paris in the 1870's was transforming – thanks to wider streets, increased traffic, an explosion of factories in the suburbs, and faster and more frequent steam-powered trains. No one in France was immune to the rapid pace of change, least of all artists. This winter the AGO presents a groundbreaking new exhibition, exploring how French Impressionist artists and their contemporaries, famous for their lush landscapes and sea vistas, were equally obsessed with capturing the spirit of the industrial age. Opening in Toronto on Feb. 16, Impressionism in the Age of Industry: Monet, Pissarro and More features over 120 artworks, including numerous loans from across Europe and North America. The exhibition is curated by Dr. Caroline Shields, Assistant Curator, European Art.
“This exhibition invites us to journey through this period of immense change, experiencing its thrills and challenges alongside the artists. As our cities and technologies rapidly change, it’s a journey that continues to resonate today,” Dr. Shields says. “Seeing these works together for the first time provides an incredibly rich addition to the story of Impressionism as we know it.”
Organized thematically, and featuring paintings, photographs, prints, drawings, sculptures, and period films, the exhibition opens with the dramatic rebuilding of Paris in the 1860’s and 1870’s. The Paris Opera was among the many monuments built during this period, and in an image by the renowned architectural photographers Delamet & Durandelle from 1865, View of Auditorium Floor from Stage (Paris Opera), the building appears in its earliest stages, draped in scaffolding.
![File:Camille Pissarro - Place du Thtre Franais, Paris Rain - 18.19 - Minneapolis Institute of Arts.jpg]()
Pissarro’s Place du Théâtre Français, Paris: Rain, (1898) on loan from the Minneapolis Institute of Art, offers a plunging view toward the Opera and down the new boulevard constructed by urban planner Baron Haussmann.
Steam-powered trains and boats, coupled with new bridges, dramatically changed life in France, affording workers the ability to commute daily between the suburbs and the city.
![Monet AGO.jpg]()
Claude Monet, Arrival of the Normandy Train, Gare Saint-Lazare, 1877. Oil on canvas, 60.3 x 80.2 cm. Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection, 1933.1158.
A painting by Claude Monet, Arrival of the Normandy Train: Gare Saint-Lazare (1877), captures the bustling energy of a train station as steam and iron mix overhead. The exhibition shows how artists used the frequent subject of trains and train stations to express the thrill of speed and feats of engineering.
Factories sprang up in the suburbs and transformed life there. A symbol of change, productivity and national pride, towering factory smokestacks became a hallmark of landscape paintings of this period.
The exhibition features several extraordinary examples including
![]()
Edgar Degas, Henri Rouart in front of his Factory (1875) on loan from the Carnegie Museum of Art, Pittsburgh
![]()
and Maximilien Luce’s, Factory in the Moonlight (1898) on loan from the Museo Nacional Thyssen-Bornemisza, Madrid.
The industrial age created incredible demand for new material comforts. In portraits of laundresses, shopkeepers and domestic labourers, Impressionist artists spotlight the labour behind the leisure.
![James Tissot - The Shop Girl.jpg]()
James Tissot’s The Shop Girl (1883-85, AGO) provides a glimpse into decadently appointed retail shops of Paris. Through the lens of works like
![File:Mary Cassatt - Children in a Garden (The Nurse) - Google Art Project.jpg]()
Mary Cassatt’s Children in a garden (The Nurse), (1878) on loan from the Museum of Fine Arts, Houston, the exhibition highlights the prevalence of women in domestic, retail, and service-sector labour.
As Paris grew and more people flocked to the cities and suburbs to work in factories, many artists fled Paris in search of an idealized, simpler way of life.
![]()
Pissarro, a mentor to many Impressionist artists, captures that idyllic sentiment in The Pork Butcher, on loan from the Tate, London.
![Pissarro - Pont Boieldieu in Rouen, Rainy Weather.jpg]()
Camille Pissarro’s Pont Boieldieu in Rouen, Damp Weather,
![]()
Edgar Degas’ Woman at Her Bath,
![]()
Vincent van Gogh - Factories at Asnières, Seen from the Quai de Clichy
The countryside wasn’t the only escape. Around the turn of the 20th century, Monet left France, turning instead to London for inspiration. There, he produced a series of dazzling urban landscapes featuring trains and factories, not unlike those he had left behind. Three such views of London by the master artist close the exhibition,
![]()
Claude Monet’s Charing Cross Bridge, Fog,
two of Charing Cross Bridge, and
![File:Claude Monet - Waterloo Bridge, Effet de Soleil.jpg]()
one of Waterloo Bridge. In each work, the sky overhead is a misty mix of industrial smog and fog, as the sun rises and sets over the Thames River.
Catalogue
![]()
The exhibition is accompanied by a fully illustrated hardcover catalogue, edited by Dr. Caroline Shields, and featuring essays by Joseph Clarke, Mary Hunter, James Rubin and Monique Johnso.
This generously illustrated book examines the relationship between 19th-century Impressionism and industry in Europe.
The late-19th century was a time of new technology, industry, and modernity. People were enthralled with their changing world and artists were not an exception. Fascinated by progress in every form, artists depicted factories, trains, and construction sites. Artists such as Claude Monet, Edgar Degas, Vincent van Gogh, and Camille Pissarro began to paint the world around them, from laundresses in the basements of Paris to rural laborers in fields. This book focuses on how Impressionist artists engaged and treated the topic of industry in their art. Chapters discuss how Paris was transformed into a bustling, modern city, the role of women in labor, and the demographic shift from rural to urban centers. Paintings, drawings, and prints, along with archival photographs help to illustrate this rich and complicated moment in art history.
Opening Feb. 16, 2019
Pulsing with life, Paris in the 1870's was transforming – thanks to wider streets, increased traffic, an explosion of factories in the suburbs, and faster and more frequent steam-powered trains. No one in France was immune to the rapid pace of change, least of all artists. This winter the AGO presents a groundbreaking new exhibition, exploring how French Impressionist artists and their contemporaries, famous for their lush landscapes and sea vistas, were equally obsessed with capturing the spirit of the industrial age. Opening in Toronto on Feb. 16, Impressionism in the Age of Industry: Monet, Pissarro and More features over 120 artworks, including numerous loans from across Europe and North America. The exhibition is curated by Dr. Caroline Shields, Assistant Curator, European Art.
“This exhibition invites us to journey through this period of immense change, experiencing its thrills and challenges alongside the artists. As our cities and technologies rapidly change, it’s a journey that continues to resonate today,” Dr. Shields says. “Seeing these works together for the first time provides an incredibly rich addition to the story of Impressionism as we know it.”
Organized thematically, and featuring paintings, photographs, prints, drawings, sculptures, and period films, the exhibition opens with the dramatic rebuilding of Paris in the 1860’s and 1870’s. The Paris Opera was among the many monuments built during this period, and in an image by the renowned architectural photographers Delamet & Durandelle from 1865, View of Auditorium Floor from Stage (Paris Opera), the building appears in its earliest stages, draped in scaffolding.
Pissarro’s Place du Théâtre Français, Paris: Rain, (1898) on loan from the Minneapolis Institute of Art, offers a plunging view toward the Opera and down the new boulevard constructed by urban planner Baron Haussmann.
Steam-powered trains and boats, coupled with new bridges, dramatically changed life in France, affording workers the ability to commute daily between the suburbs and the city.
A painting by Claude Monet, Arrival of the Normandy Train: Gare Saint-Lazare (1877), captures the bustling energy of a train station as steam and iron mix overhead. The exhibition shows how artists used the frequent subject of trains and train stations to express the thrill of speed and feats of engineering.
Factories sprang up in the suburbs and transformed life there. A symbol of change, productivity and national pride, towering factory smokestacks became a hallmark of landscape paintings of this period.
The exhibition features several extraordinary examples including
Edgar Degas, Henri Rouart in front of his Factory (1875) on loan from the Carnegie Museum of Art, Pittsburgh
and Maximilien Luce’s, Factory in the Moonlight (1898) on loan from the Museo Nacional Thyssen-Bornemisza, Madrid.
The industrial age created incredible demand for new material comforts. In portraits of laundresses, shopkeepers and domestic labourers, Impressionist artists spotlight the labour behind the leisure.
James Tissot’s The Shop Girl (1883-85, AGO) provides a glimpse into decadently appointed retail shops of Paris. Through the lens of works like
Mary Cassatt’s Children in a garden (The Nurse), (1878) on loan from the Museum of Fine Arts, Houston, the exhibition highlights the prevalence of women in domestic, retail, and service-sector labour.
As Paris grew and more people flocked to the cities and suburbs to work in factories, many artists fled Paris in search of an idealized, simpler way of life.
Pissarro, a mentor to many Impressionist artists, captures that idyllic sentiment in The Pork Butcher, on loan from the Tate, London.
Camille Pissarro’s Pont Boieldieu in Rouen, Damp Weather,
Edgar Degas’ Woman at Her Bath,
Vincent van Gogh - Factories at Asnières, Seen from the Quai de Clichy
The countryside wasn’t the only escape. Around the turn of the 20th century, Monet left France, turning instead to London for inspiration. There, he produced a series of dazzling urban landscapes featuring trains and factories, not unlike those he had left behind. Three such views of London by the master artist close the exhibition,
Claude Monet’s Charing Cross Bridge, Fog,
two of Charing Cross Bridge, and
one of Waterloo Bridge. In each work, the sky overhead is a misty mix of industrial smog and fog, as the sun rises and sets over the Thames River.
Catalogue
The exhibition is accompanied by a fully illustrated hardcover catalogue, edited by Dr. Caroline Shields, and featuring essays by Joseph Clarke, Mary Hunter, James Rubin and Monique Johnso.
This generously illustrated book examines the relationship between 19th-century Impressionism and industry in Europe.
The late-19th century was a time of new technology, industry, and modernity. People were enthralled with their changing world and artists were not an exception. Fascinated by progress in every form, artists depicted factories, trains, and construction sites. Artists such as Claude Monet, Edgar Degas, Vincent van Gogh, and Camille Pissarro began to paint the world around them, from laundresses in the basements of Paris to rural laborers in fields. This book focuses on how Impressionist artists engaged and treated the topic of industry in their art. Chapters discuss how Paris was transformed into a bustling, modern city, the role of women in labor, and the demographic shift from rural to urban centers. Paintings, drawings, and prints, along with archival photographs help to illustrate this rich and complicated moment in art history.