Entrée de l’exposition universelle de 1889 1889

Editor: Jean Béraud’s "Entrée de l’exposition universelle de 1889," created using oil paints, really captures a moment in time, doesn’t it? The energy of the crowd feels so palpable. I’m immediately struck by how much smaller the Eiffel Tower looks compared to what I expected. What do you see in this piece? Curator: It’s funny you say that! Perhaps we expect monuments to loom large, but Béraud nestled the Tower in the cityscape like it grew there, which, in a way, it did! For me, it's all about the human current swirling around the Tower's base. Consider those tram tracks – how the artist uses their curve to invite you in and circulate you amongst the finery and the buzz. Béraud was really trying to capture a sensory record, the hustle and bustle. What do you make of his figures, hunched into each other, all doing their own thing? Editor: They do seem incredibly focused on their own experiences! I guess that’s a good depiction of modern urban life even today. The grey scale with tints of colors create an atmosphere, but is it too simplistic? Curator: Ah, "simplistic" isn't the word that jumps to my mind. For me, it’s honest. Look closely. See how he captures light filtering through the leaves? How those little flicks of paint conjure the shimmer of a silk dress or the crisp lines of a suit? Editor: Oh, I see what you mean. I hadn't focused on the technique so closely before. Curator: Art always has more to offer each time, right? The Impressionists are geniuses in disguise because of the familiar subject matters, but don't fall into the trap of quick reads. They demand that you slow down to perceive the layers and light. Editor: Definitely, I’ll be sure to look more closely at the brushstrokes in Impressionist paintings going forward. Curator: That's the beauty of these artworks; they pull us closer to everyday moments, begging us to discover a deeper relationship with our daily environment and even our past.