Notre Dame de Paris 1903

Curator: Here we have Auguste Herbin's "Notre Dame de Paris," created in 1903. It’s a striking example of post-impressionist oil painting. Editor: My first thought? It's… chaotic, yet structured. All these short brushstrokes almost dissolve the cathedral into a shimmering, ethereal form. Curator: Interesting observation. Considering Herbin's focus during his early period, let’s discuss the application of oil paint. You see how he’s built up texture, layering these visible brushstrokes? It seems to reject smooth, academic surfaces. Editor: Yes, exactly. The materiality of the paint itself is highlighted. The vibrant blues, greens, and violets feel almost independent of the architectural structure. Curator: And consider the socioeconomic context. Paris in the early 20th century was a nexus of rapid change. This approach to representing Notre Dame moves away from merely documenting the landmark. Instead, it's as if Herbin captured something more ephemeral of modern life— fleeting impressions and light. Editor: The subject matter clashes with the treatment, and makes me wonder what message is embedded within it, and to whom does that resonate, since this building stands for a religious historical moment, being depicted through free modernity in brushstroke. Curator: Indeed, this contrast of a solid religious edifice, so iconic and important, against the movement in brushstrokes reflects what was probably the mood in France at the time. Editor: What fascinates me most is how it engages with architectural space, how he plays with the visual planes using light and color rather than precise form. Curator: His visual approach provides such an intimate interpretation; you almost don't consider all the factors related to making this artwork that shaped its reception in society at that time, or any other that may follow this one. Editor: Quite right. But it’s fascinating to unravel the multiple layers he laid so boldly for the public eye to consume, regardless of their intentions.