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{"id":8805,"date":"2024-03-11T17:58:15","date_gmt":"2024-03-11T16:58:15","guid":{"rendered":"https:\/\/artloverstravel.com\/?p=8805"},"modified":"2024-03-17T17:43:51","modified_gmt":"2024-03-17T16:43:51","slug":"chicago-see-the-most-extraordinary-art-architecture-in-the-usa","status":"publish","type":"post","link":"https:\/\/artloverstravel.com\/chicago-see-the-most-extraordinary-art-architecture-in-the-usa\/","title":{"rendered":"Chicago — See the Most Extraordinary Art & Architecture in the USA"},"content":{"rendered":"\n
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Iconic American Art Is on View at the Art Institute of Chicago<\/h2>\n\n\n
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View of Millennium Park & the Chicago Skyline from inside the Art Institute<\/figcaption><\/figure><\/div>\n\n\n

During stressful times, when one hopes to gain perspective on life’s complexities, the best tonic may be a walk by a lake or through a park, perhaps a boat ride to take in the creativity all around us, or an inspirational visit to a museum. As the poet and mystic Thomas Merton observed, “Art enables us to find ourselves and lose ourselves at the same time.” In the U.S.A., travelers often discuss the vibrant cities on the East Coast or the beautiful destinations on the Pacific. Whatever itinerary you choose, we encourage you to include a few days in Chicago in your travel plans. A visit to the amazing Art Institute of Chicago<\/a>, famous for French paintings by Gauguin, Toulouse-Lautrec, Renoir (shown above) and many others, is guaranteed to surprise you. <\/p>\n\n\n\n

Chicago offers you the most dramatic architectural experience in the United States, and the Art Institute has a fabulous collection of paintings by American women and men. After reading this article, our hope is that you will be able to see yourself on Lake Michigan in Chicago, enjoying a slice of the American experience which cannot be found on either of the Coasts.<\/p>\n\n\n

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Woman Before the Mirror<\/em> by Ellen Emmet Rand, best known for her portraits of President F.D. Roosevelt & her cousins William and Henry James <\/figcaption><\/figure><\/div>\n\n
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American Gothic<\/em>, 1930 (above) by Grant Wood<\/figcaption><\/figure><\/div>\n\n
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Green Mountains, Canada<\/em>, 1932 by Georgia O’Keeffe<\/figcaption><\/figure><\/div>\n\n
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The Advance-Guard,<\/em> 1890 by Frederic Remington<\/figcaption><\/figure><\/div>\n\n
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Elaine<\/em>, 1874 by Toby E. Rosenthal {depicting Elaine’s postmortem voyage from Astolat to Camelot}<\/figcaption><\/figure><\/div>\n\n
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The La Salle Street Bridge, constructed in 1928, connects the Loop area with the Near North Side<\/figcaption><\/figure><\/div>\n\n\n

The Great Chicago Fire of 1871 Led to a Revolution in Architecture<\/h2>\n\n\n\n

Following a devastating fire in 1871 and a second blaze in the hot summer of 1874, many architects relocated to Chicago to participate in a great rebuilding, which led to the construction in 1885 of the world’s first skyscraper — the Home Insurance Building — the first tall building to be supported both inside and out by a fireproof structural steel frame. <\/p>\n\n\n\n

Another major change that resulted from the two fires was the use of terra cotta as building cladding. In 1878, the Northwestern Terra Cotta Company was established here to mass produce this mixture of clay and sand, baked rock-hard at 2000-degree Fahrenheit temperatures to obtain a fireproof material that could also be molded into ornamental, three-dimensional forms. The construction of steel-framed buildings — a new technology pioneered in Chicago — combined with terra cotta that could be formed into myriad architectural styles led to historic structures such as the Wrigley Building and the neo-Gothic Tribune Tower (finished in 1924 and 1925, respectively) and Chicago became known worldwide as the “Birthplace of Modern Architecture.”<\/p>\n\n\n\n

“Eventually, I think Chicago will be the most beautiful great city left in the world.”<\/h2>\n\n\n\n

Frank Lloyd Wright<\/strong><\/p>\n\n\n

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The Tribune Tower (seen from the DuSable Bridge that carries Michigan Avenue across the main stem of the Chicago River)<\/figcaption><\/figure><\/div>\n\n
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Wrigley Building<\/figcaption><\/figure><\/div>\n\n\n
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Woman Before the Mirror<\/em>, 1925 (above left) by Ellen Emmet Rand & White Heron in a Pool in a Garden<\/em>, 1929 by Frank Weston Benson<\/figcaption><\/figure>\n\n\n
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The Coffee House<\/em>, 1905-06 by Alson Skinner Clark<\/figcaption><\/figure><\/div>\n\n
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Cruising along the river by boat is a must for tourists<\/figcaption><\/figure><\/div>\n\n
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Boats at Rest<\/em>, 1893 by Arthur Wesley Dow<\/figcaption><\/figure><\/div>\n\n
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Lotus Lilies<\/em>, 1888 by Charles Courtney Curran<\/figcaption><\/figure><\/div>\n\n
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The White Bridge<\/em>, 1895 by John Henry Twachtman<\/figcaption><\/figure><\/div>\n\n
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Distant View of Niagara Falls<\/em>, 1830 by Thomas Cole<\/figcaption><\/figure><\/div>\n\n\n
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The Mill Pond<\/em>, 1889 (left) by George Inness & Madame Escudier<\/em>, 1882 by John Singer Sargent<\/figcaption><\/figure>\n\n\n
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The Child’s Bath<\/em>, 1893 by Mary Cassatt<\/figcaption><\/figure><\/div>\n\n
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Rocks at Nahant<\/em>, 1864 by William Stanley Haseltine<\/figcaption><\/figure><\/div>\n\n
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The Whittling Boy<\/em>, 1873 by Winslow Homer<\/figcaption><\/figure><\/div>\n\n
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Interior of the Artist’s Library<\/em>, 1909-13 by Walter Gay<\/figcaption><\/figure><\/div>\n\n\n
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“Chicago’s First Lady Cruises” offers in-depth excursions into Lake Michigan and along the river for Lovers of Architecture<\/figcaption><\/figure><\/div>\n\n
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The Puff of Smoke<\/em>, 1912 by Gifford Beal<\/figcaption><\/figure><\/div>\n\n
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At Mouquin’s<\/em>, 1905 by William Glackens<\/figcaption><\/figure><\/div>\n\n
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Views from our balcony at The Gwen, a Luxury Collection Hotel on Michigan Avenue, during the day … and at night (below)<\/figcaption><\/figure>\n\n\n
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By-Products Plants<\/em>, 1923-26 by Joseph Stella<\/figcaption><\/figure><\/div>\n\n\n
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Spring<\/em>, 1923-24 (above right) by Georgia O’Keeffe<\/figcaption><\/figure>\n\n\n
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The Wedding<\/em>, 1948 by Jacob Lawrence<\/figcaption><\/figure><\/div>\n\n\n
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Mrs. George Swinton<\/em>, 1897 (above right) by John Singer Sargent<\/figcaption><\/figure>\n\n\n\n

Art Lovers TIP<\/strong>: For quicker entry into the Art Institute of Chicago<\/a>, enter through the north entrance (pictured above, at left) at 159 East Monroe Street. This is the nearest entrance to the Modern Wing and the Modern Caf\u00e9, which offers lighter fare and beverages. In addition, the Member Bar at Terzo Piano is nearest the Monroe entrance\/exit, where Museum Members and their guests are offered free coffee and tea, plus excellent city views!<\/p>\n\n\n

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Nighthawks<\/em>, 1942 by Edward Hopper<\/figcaption><\/figure><\/div>\n\n
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Stained Glass Window, 1917 by Tiffany Studios<\/figcaption><\/figure><\/div>\n\n
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Grand Staircase inside the Art Institute of Chicago<\/figcaption><\/figure><\/div>\n\n
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Pedestrian bridge leading from the rooftop of the Art Institute of Chicago to Millennium Park<\/figcaption><\/figure><\/div>\n\n
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Courtyard on the roof of the Art Institute, near the Member Bar, above the Monroe Street entrance<\/figcaption><\/figure><\/div>\n\n
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South Michigan Avenue, as seen from the roof of the Art Institute of Chicago<\/figcaption><\/figure><\/div>\n\n
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Millennium Park<\/figcaption><\/figure><\/div>\n\n
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The Art Institute of Chicago<\/figcaption><\/figure><\/div>\n\n\n

Art Lovers TIP<\/strong>: If you enter\/exit the Museum through its main entrance, 111 South Michigan Avenue (above), please plan to visit the unique Thorne Miniature Rooms on the Lower Level.<\/p>\n\n\n

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The Art Institute<\/h2>\n\n\n\n

With a footprint of nearly 1,000,000 square feet and nearly 300,000 works of art, the Art Institute of Chicago is surpassed in importance and size only by the Metropolitan Museum of Art in New York. Founded in 1879, this museum is one of the oldest in the U.S.A. and one of the 15 largest in the world.<\/p>\n\n\n\n

After visiting rooms devoted to art from the Americas, including Edward Hopper’s masterpiece entitled “Nighthawks” (above), we suggest you devote most of your time to the collection of European paintings and sculptures. The Art Institute of Chicago’s selection of Impressionist and Post-Impressionist paintings is arguably the finest in the U.S.A. <\/p>\n\n\n

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Assumption of the Virgin with Saints<\/em>, Venetian Altarpiece circa 1450-75<\/figcaption><\/figure><\/div>\n\n\n

European Paintings<\/h2>\n\n\n
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Holy Family<\/em>, South German circa 1440-60<\/figcaption><\/figure><\/div>\n\n
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Portrait of a Gentleman<\/em>, 1505 by Ridolfo Ghirlandaio<\/figcaption><\/figure><\/div>\n\n
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Adam and Eve<\/em>, 1533-37 by Lucas Cranach the Elder<\/figcaption><\/figure><\/div>\n\n
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A Lady Reading (Mary Magdalene)<\/em>, 1530 by a Netherlandish Master<\/figcaption><\/figure><\/div>\n\n\n
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Portrait of a Noblewoman Dressed in Mourning<\/em>, 1600 by Jacopo da Empoli (above left) & Queen Margaret of Spain<\/em>, 1606 by Andr\u00e9s L\u00f3pez Polanco<\/figcaption><\/figure>\n\n\n
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Circular Gilded Earthenware Plaque<\/em>, 1880-87 by Theodore Deck, painted by Paul-Cesar Helleu<\/figcaption><\/figure><\/div>\n\n
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Portrait of a Woman<\/em>, 1851 by Jean-L\u00e9on G\u00e9r\u00f4me<\/figcaption><\/figure><\/div>\n\n
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Steamboat Leaving Boulogne<\/em>, 1864 by \u00c9douard Manet<\/figcaption><\/figure><\/div>\n\n
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The Franklin-Orleans St. Bridge, built in 1920, is a bascule bridge stretching over the Chicago River<\/figcaption><\/figure><\/div>\n\n
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Chicago serves as the hub for the United States’ national passenger railroad company, AMTRAK, and has long been the most important interchange point for freight train traffic among the major railroads. The first “L” (elevated) train service began in Chicago in 1892 (three years before construction began on the first practical subway in Boston). Elevated trains did not require much digging, and there were concerns at that time in Chicago that the city’s swampy soil would not tolerate a subway system. Today, Chicago is the only U.S. city that still uses elevated trains (above) in its downtown area. The Willis Tower (pictured below, at right), a 110-story skyscraper, was the world’s tallest building when it opened in 1973, a title that it held for almost 25 years, and its observation deck called “Skydeck” receives more than 1.7 million visitors each year.<\/p>\n\n\n\n

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The Wabash Avenue Bridge (left) was one of the first to use Chicago’s unique design: raising the position of the deck truss to increase clearance underneath<\/figcaption><\/figure>\n\n\n
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Still Life, Corner of a Table<\/em>, 1873 by Henri Fantin-Latour<\/figcaption><\/figure><\/div>\n\n
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Odalisque<\/em>, 1874 by Jules Joseph Lefebvre<\/figcaption><\/figure><\/div>\n\n
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Hercules and the Lernaean Hydra<\/em>, 1875 by Gustave Moreau<\/figcaption><\/figure><\/div>\n\n
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Pardon in Brittany<\/em>, 1896 by Gaston La Touche<\/figcaption><\/figure><\/div>\n\n\n

Chicago Possesses the Finest Impressionist Art Outside of Paris<\/h2>\n\n\n\n

The collection of French art assembled by the Art Institute is comparable to New York’s Metropolitan Museum of Art, and in our opinion surpasses the excellent displays of Impressionism you will find at the Museum of Fine Arts, Boston, the National Gallery of Art in Washington, D.C., and in Philadelphia where the Barnes Foundation owns the most complete — and, in terms of quality, the most uneven — Impressionist collection featuring 181 paintings by Renoir alone.<\/p>\n\n\n

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Adam<\/em>, 1881 (cast 1924) by Auguste Rodin<\/figcaption><\/figure><\/div>\n\n
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Arrival of the Normandy Train, Gare Saint-Lazare<\/em>, 1877 by Claude Monet<\/figcaption><\/figure><\/div>\n\n
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Paris Street, Rainy Day<\/em>, 1877 by Gustave Caillebotte<\/figcaption><\/figure><\/div>\n\n
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Young Woman Sewing<\/em>, 1879 by Pierre-Auguste Renoir<\/figcaption><\/figure><\/div>\n\n
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The Plate of Apples<\/em>, 1877 by Paul C\u00e9zanne<\/figcaption><\/figure><\/div>\n\n
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Chrysanthemums<\/em>, 1881 by Pierre-Auguste Renoir<\/figcaption><\/figure><\/div>\n\n
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Paintings by Renoir<\/figcaption><\/figure><\/div>\n\n
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Lunch at the Restaurant Fournaise<\/em>, 1875 by Pierre-Auguste Renoir<\/figcaption><\/figure><\/div>\n\n
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Two Sisters (On the Terrace)<\/em>, 1881 by Pierre-Auguste Renoir<\/figcaption><\/figure><\/div>\n\n
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Fruits of the Midi<\/em>, 1881 by Pierre-Auguste Renoir<\/figcaption><\/figure><\/div>\n\n
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Bordighera<\/em>, 1884 by Claude Monet<\/figcaption><\/figure><\/div>\n\n
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A Sunday on La Grande Jatte —1884<\/em>, 1884-86 by Georges Seurat<\/figcaption><\/figure><\/div>\n\n\n
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Etretat, The Beach and the Falaise d’Amont<\/em>, 1885 (above left) by Claude Monet & Portrait of Balzac<\/em>, 1893 (cast 1926) by Auguste Rodin<\/figcaption><\/figure>\n\n\n
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Stacks of Wheat (Sunset, Snow Effect)<\/em>, 1890-91 by Claude Monet<\/figcaption><\/figure><\/div>\n\n
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Houses of Parliament, London<\/em>, 1900-01 by Claude Monet<\/figcaption><\/figure><\/div>\n\n
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Stacks of Wheat (Sunset, Snow Effect)<\/em> (above left) & Stacks of Wheat (End of Summer)<\/em>, 1890-91 by Claude Monet<\/figcaption><\/figure><\/div>\n\n
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Venice, Palazzo Dario<\/em>, 1908 by Claude Monet<\/figcaption><\/figure><\/div>\n\n
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V\u00e9theuil<\/em>, two paintings (above left) painted by Claude Monet in 1901<\/figcaption><\/figure><\/div>\n\n
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Waterloo Bridge, Sunlight Effect<\/em>, 1903 by Claude Monet<\/figcaption><\/figure><\/div>\n\n
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Statue of Eve After the Fall<\/em>, 1886 by Auguste Rodin & Water Lily Pond<\/em>, 1917-19 (above center) by Claude Monet<\/figcaption><\/figure><\/div>\n\n
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Arl\u00e9siennes (Mistral)<\/em>, 1888 by Paul Gauguin<\/figcaption><\/figure><\/div>\n\n
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Paintings by Paul C\u00e9zanne<\/figcaption><\/figure><\/div>\n\n\n
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Woman in Front of a Still Life by C\u00e9zanne<\/em>, 1890 (left) & The Ancestors of Tehamana<\/em>, 1893 by Paul Gauguin<\/figcaption><\/figure>\n\n\n
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The Bedroom<\/em>, 1889 by Vincent van Gogh<\/figcaption><\/figure><\/div>\n\n
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Madame Roulin Rocking the Cradle<\/em>, 1889 by Vincent van Gogh<\/figcaption><\/figure><\/div>\n\n
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The Poet’s Garden<\/em>, 1888 by Vincent van Gogh<\/figcaption><\/figure><\/div>\n\n
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At the Moulin Rouge<\/em>, 1892-95 by Henri de Toulouse-Lautrec<\/figcaption><\/figure><\/div>\n\n
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Ad Astra<\/em>, 1894-96 by Alexi Gallen-Kallela<\/figcaption><\/figure><\/div>\n\n\n
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The Red Room, Etretat<\/em>, 1899 (above left) by F\u00e9lix Vallotton & Madame A. Fontaine in a Pink Shawl<\/em>, 1904 by \u00c9douard Vuillard<\/figcaption><\/figure>\n\n\n
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Guelder Roses and the Venus de Milo<\/em>, 1905 by \u00c9douard Vuillard<\/figcaption><\/figure><\/div>\n\n
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In the Wings<\/em>, 1899 by Jean-Louis Forain<\/figcaption><\/figure><\/div>\n\n
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Earthly Paradise<\/em>, 1916-20 by Pierre Bonnard<\/figcaption><\/figure><\/div>\n\n
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The truss construction of the Dearborn St. Bridge features beams with lattice, v-lacing and rivets — unusual elements for a 1963 construction — to replicate the nearby bridges built in the 1920s<\/figcaption><\/figure><\/div>\n\n
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The Grand Muveran<\/em>, 1912 by Ferdinand Hodler<\/figcaption><\/figure><\/div>\n\n
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Kneeling Youth<\/em>, 1900 (above right) by George Minne<\/figcaption><\/figure><\/div>\n\n
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Farm Near Duivendrecht<\/em>, 1916 by Piet Mondrian<\/figcaption><\/figure><\/div>\n\n
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The 1929 Clark St. Bridge (background) and the ones at Franklin & La Salle Streets are fine examples of the pony truss bascule style. The bascule section is moveable and pivots when raised or lowered.<\/figcaption><\/figure><\/div>\n\n\n
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The Old Guitarist<\/em>, 1903-04 (above left) & The Red Armchair<\/em>, 1931 by Pablo Picasso<\/figcaption><\/figure>\n\n\n
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Nude with a Pitcher<\/em>, 1906 by Pablo Picasso & Bathers by a River<\/em>, 1909-17 by Henri Matisse<\/figcaption><\/figure>\n\n\n
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The Picasso<\/em> in Daley Plaza is a monumental Cubist sculpture (untitled), 50 feet (15.2 meters) tall, and was fabricated from 147 tons of steel<\/figcaption><\/figure><\/div>\n\n\n
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Portrait of Sylvette David<\/em>, 1954 (above left) & Mother and Child<\/em>, 1921 by Pablo Picasso<\/figcaption><\/figure>\n\n\n
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American Collectors<\/em>, 1968 by David Hockney<\/figcaption><\/figure><\/div>\n\n\n
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Girl with the Green Face<\/em>, 1910 by Alexei Jawlensky & Woman Before an Aquarium<\/em>, 1921-23 by Henri Matisse<\/figcaption><\/figure>\n\n\n
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The Bewitched Mill<\/em>, 1913 by Franz Marc<\/figcaption><\/figure><\/div>\n\n
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Lemons on a Pewter Plate<\/em>, 1926 by Henri Matisse<\/figcaption><\/figure><\/div>\n\n
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The Earth Is a Man<\/em>, 1942 by Matta<\/figcaption><\/figure><\/div>\n\n
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Carnival<\/em>, 1943 by Arshile Gorky<\/figcaption><\/figure><\/div>\n\n\n
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Time Transfixed<\/em>, 1938 (above left) & On the Threshold of Liberty<\/em>, 1937 by Ren\u00e9 Magritte<\/figcaption><\/figure>\n\n\n\n
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Beauty at the Mimeguri Shrine<\/em>, 1804 by Utagawa Toyohiro; Devil<\/em>, 1952 by Pablo Picasso (center); & Self-Portrait<\/em>, 1937 by Max Beckmann<\/figcaption><\/figure>\n\n\n
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Interchange<\/em>, 1955 by Willem de Kooning<\/figcaption><\/figure><\/div>\n\n
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Articulated Dragon<\/em>, circa 1880, School of Myochin<\/figcaption><\/figure><\/div>\n\n
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Boy and Dog in Johnnypump<\/em>, 1982 (private collection) by Jean-Michel Basquiat<\/figcaption><\/figure><\/div>\n\n\n

Upcoming & Past Exhibitions<\/h4>\n\n\n\n

Georgia O’Keeffe’s “My New Yorks” <\/h3>\n\n\n\n

June 2 — September 22, 2024<\/h4>\n\n\n\n

In June 2024, the exhibition entitled “My New Yorks” will explore the urban landscapes created by Georgia O’Keeffe during the 1920s. O’Keeffe moved into the Shelton Hotel in New York City, then the world’s tallest residential skyscraper, in 1925. Over a five-year period, the painter captured the city’s modernist architecture both by looking down from her 30th-floor apartment and in street-level compositions using graphite, paint, and pastels. <\/p>\n\n\n

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New York Street with Moon<\/em>, 1925 by Georgia O’Keeffe<\/figcaption><\/figure><\/div>\n\n\n

Best known for her close-up views of flowers, large in scale, and her Southwestern landscapes, O’Keeffe’s cityscapes have been largely overlooked and offer a missing piece of the puzzle necessary to truly understand this artist’s unique experimentation with form and perspective. As she once explained, “One can’t paint New York as it is, but rather as it is felt.” In the summer of 1929, O’Keeffe visited Taos, New Mexico — a move that would change the course of her life and her career until her death in 1986.<\/p>\n\n\n\n

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Previous Exhibitions<\/h4>\n\n\n\n

Remedios Varo<\/h3>\n\n\n
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The Clockmaker (Revelation)<\/em>, 1955 by Remedios Varo<\/figcaption><\/figure><\/div>\n\n\n

The art created by Remedios Varo (1908 — 1963) is intricate and fascinating, and was the subject of “Remedios Varo: Science Fictions” through November 27, 2023. While relatively small with less than two dozen paintings, this show marked the Art Institute’s first solo exhibition devoted to a female Surrealist. Born in Spain, Varo fled Europe in 1941 due to the dangers posed by World War II. She emigrated permanently to Mexico City where she infused her visual art with a wide variety of intellectual interests from ecology to feminism, and explored Surrealistic themes related to tarot, psychology, mysticism and unseen truths. <\/p>\n\n\n

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Self-Portrait<\/em>, 1887 by Vincent van Gogh<\/figcaption><\/figure><\/div>\n\n
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The Impressionists often found inspiration in pastoral and suburban locales. This past special exhibition at the Art Institute of Chicago explored the “next generation of ambitious artists” — specifically, Vincent van Gogh and four other Post-Impressionists who traveled outside of Paris to villages along the Seine on the northwestern fringes of the French capital in order to spark their creativity. Containing works from international museums and private collections, this fine show closed on September 4, 2023.<\/p>\n\n\n

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A Woman Walking in a Garden<\/em>, 1887 by Vincent van Gogh<\/figcaption><\/figure><\/div>\n\n
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Gate on the Ile de la Grande Jatte<\/em>, 1887 by Vincent van Gogh<\/figcaption><\/figure><\/div>\n\n
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View of the Pont d’Asni\u00e8res<\/em>, 1887 by Vincent van Gogh<\/figcaption><\/figure><\/div>\n\n
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Exterior of a Restaurant in Asni\u00e8res<\/em>, 1887 by Vincent van Gogh<\/figcaption><\/figure><\/div>\n\n\n

This exhibition, entitled “Van Gogh and the Avant-Garde: the Modern Landscape,” included 25 works by Vincent van Gogh, and an additional 50 paintings by Charles Angrand, Emile Bernard, Georges Seurat and Paul Signac (the two leaders of the movements known as Pointillism and Divisionism).<\/p>\n\n\n

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Seated Woman with a Parasol<\/em>, 1884-85 by Georges Seurat<\/figcaption><\/figure><\/div>\n\n
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Final Study for “Bathers at Asni\u00e8res”<\/em>, 1883 by Georges Seurat<\/figcaption><\/figure><\/div>\n\n
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The Seine at La Grande-Jatte<\/em>, 1888 by Georges Seurat<\/figcaption><\/figure><\/div>\n\n
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The Seine at Courbevoie<\/em>, 1885 by Georges Seurat<\/figcaption><\/figure><\/div>\n\n
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The Seine at Dawn<\/em>, 1886 by Charles Angrand<\/figcaption><\/figure><\/div>\n\n
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The Seine at Courbevoie, La Grande Jatte<\/em>, 1888 by Charles Angrand<\/figcaption><\/figure><\/div>\n\n
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Asni\u00e8res Study (Laundry Boat)<\/em>, 1882 by Paul Signac<\/figcaption><\/figure><\/div>\n\n
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Coal Crane, Clichy<\/em>, 1884 by Paul Signac<\/figcaption><\/figure><\/div>\n\n
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The Festival at Asni\u00e8res<\/em>, 1884 by Paul Signac<\/figcaption><\/figure><\/div>\n\n
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Rue de la Station, Asni\u00e8res<\/em>, 1884 by Paul Signac<\/figcaption><\/figure><\/div>\n\n
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Railway Junction Near Bois-Colombes<\/em>, 1885-86 by Paul Signac<\/figcaption><\/figure><\/div>\n\n
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Snow, Bois-Colombes<\/em>, 1886 by Paul Signac<\/figcaption><\/figure><\/div>\n\n\n

Landscape painting changed substantially during the 1880s, in large part due to the rapid industrialization around major art centers, notably Paris and London. Even though industrial development was adjudged to be unattractive by many, avant-garde artists such as Seurat and Signac flocked to the areas along the Seine River northwest of Paris because they found the changing physical landscape an appealing source for their inventive imaginations. The communes on the banks of the river such as Asni\u00e8res and Clichy, once popular destinations for recreation, were now home to gas, coal and other manufacturing facilities. The brilliant colors along the Seine — combined with the bridges, factories and restaurants in the nearby villages — enticed this new generation of painters. At the same time, the lure of Impressionism has reached its heights and limits during the period between 1882 to 1890, and younger artists were seeking out fresh areas for experimentation. This thirst for innovation was evidenced in 1886 by Signac’s dramatic turn away from the Impressionist style (pictured above). By 1889, when Emile Bernard turned 21 years of age, Bernard had already abandoned Pointillism, Divisionism and the Cloisonnism he mastered two years earlier for a more hybrid style. Vincent van Gogh followed and absorbed the developments embraced by the avant-garde to break new ground as the father of Expressionism.<\/p>\n\n\n

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The Junction at Bois-Colombes (Opus 130)<\/em>, 1886 by Paul Signac<\/figcaption><\/figure><\/div>\n\n
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Gasometers at Clichy<\/em>, 1886 by Paul Signac<\/figcaption><\/figure><\/div>\n\n
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The “Ponton de la F\u00e9licit\u00e9” at Asni\u00e8res (Opus 143)<\/em>, 1886 by Paul Signac<\/figcaption><\/figure><\/div>\n\n
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Quay at Cliche (Opus 157)<\/em>, 1887 by Paul Signac<\/figcaption><\/figure><\/div>\n\n
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Factories at Clichy<\/em>, 1887 by Vincent van Gogh<\/figcaption><\/figure><\/div>\n\n
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Garden in Bloom at Asni\u00e8res<\/em>, 1889 by Emile Bernard<\/figcaption><\/figure><\/div>\n\n
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Iron Bridges at Asni\u00e8res<\/em>, 1887 by Emile Bernard<\/figcaption><\/figure><\/div>\n\n\n
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Roadway with Underpass, Asni\u00e8res<\/em> {Le Viaduct<\/em>} & The Restaurant Rispal at Asni\u00e8res<\/em>, 1887 by Vincent van Gogh<\/figcaption><\/figure>\n\n\n\n

A Van Gogh Exhibit Closed in Chicago on September 4, 2023<\/h4>\n\n\n\n

The Art Institute of Chicago is closed on Tuesdays and Wednesdays. The general public may visit the museum from 11:00 in the morning until 5:00 in the afternoon from Friday through Monday. The Art Institute is open on Thursdays from 11:00 until 8:00 in the evening. <\/p>\n\n\n\n

Art Lovers TIP<\/strong>: Membership benefits at the Art Institute include early access to the museum’s galleries from 10:00 until 11:00 on every morning from Thursday through Monday throughout the year, in addition to other privileges.<\/p>\n\n\n\n

For more information on the special exhibition “Van Gogh and the Avant-Garde,” and images illustrating how landscape painting evolved in the area near Asni\u00e8res along the Seine River between 1882 and 1890, we encourage you to read our article entitled “Excellent Van Gogh Paintings & the Beautiful Colors of Rome.”<\/a><\/p>\n\n\n\n

Please feel free to share your feelings and opinions on the art and architecture of Chicago with us, and with our readers around the world. We are happy you spent time with us today! Thank you for your visit.<\/p>\n\n\n\n

The Image Disappears<\/h4>\n\n\n\n

An exhibition entitled “Salvador Dal\u00ed: The Image Disappears,” the first show devoted to the Catalan\/Spanish surrealist by the Art Institute of Chicago, was on display at the museum through June 12, 2023.<\/p>\n\n\n

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Three Young Surrealist Women Holding in Their Arms the Skins of an Orchestra<\/em>, 1936 by Salvador Dal\u00ed {Collection: The Dal\u00ed Museum, St. Petersburg, Florida}<\/figcaption><\/figure><\/div>\n\n\n

Dedication<\/h2>\n\n\n\n

We dedicate this article on Chicago to Walt Blenner<\/strong>, a lawyer based in St. Petersburg, Florida who represents injured Americans among many others, volunteers as a docent at the Dal\u00ed Museum in St. Petersburg and is an avid supporter & lover of the Arts. Walt Blenner<\/strong> is also an alumnus of the University of Chicago.<\/p>\n\n\n\n

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During stressful times, when one hopes to gain perspective on life’s complexities, the best tonic may be a walk by a lake or through a park, perhaps a boat ride to take in the creativity all around us, or an inspirational visit to a museum. 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