conclusion

As this capstone demonstrates, numerous paintings by the Impressionists connect with locations transformed by the events of 1870-1871. These correlations should prompt us to rethink the tendency to associate the movement with spaces of leisure and enjoyment, shifting emphasis away from the romanticized view of Paris. These paintings thus bring to light aspects of the city’s history that were obscured in subsequent years, as the memory of the Franco-Prussian War and Paris Commune faded. By remapping Impressionism in light of the imprint made on the movement by the events of 1870-71, this capstone may prompt further research into the ways that the Impressionists responded to the tumultuous events of their time.

Unknown, La Commune de Paris, La Porte Maillot, apres le bombardement du mont Valérien, 1870.

Camille Pissarro, Louveciennes with Mont Valérien, 1871. Oil on canvas, 45.8 x 55.7 cm. Southampton Art Gallery.