Tissot's fascination with clothing à la mode carries into his monumental Circle of the Rue Royale (1868), a painting depicting 1 2 immaculately dressed men on the veranda of a neoclassical building. His paintings of fashionable young women, such as Portrait (1874), are early versions of the 'It' Girl, or what the French termed La Parisienne- the fashionable woman of the late 1800s. Like his Impressionist contemporaries, Tissot was interested largely in depicting modern life, but he embraced a more academic painting style, with brushstrokes largely hidden. But the curators include lesser-known Impressionists, too, such as Eva Gonzales (1849–'83) and Frederic Bazille (1841–'70)-and even a few non-Impressionists, most notably James Tissot (1836–1902) who's represented by no less than 10 canvasses. Her tall and stunningly elegant figure makes the Met’s nearby vintage gown look squat and informal by comparison.īesides Monet, the show features other usual suspects, from Manet to Renoir and Seurat to Morisot. It's an unusual compositional choice, perhaps inspired by Japanese prints, but it turns the focus on the gown, and the length of the train gives Madame Gaudibert an illusion of exaggerated height. Monet depicts his subject from the side, her face angled away from the viewer. Created 20 years before his Postimpressionist water lilies or haystacks, the portrait features Madame Gaudibert dressed in a striking olive-colored gown and wrapped in an Indian shawl. One of the first pairings of painting and costume we see is Madame Louis Joachim Gaudibert (1868) by Claude Monet (1840–1926) and a clothing ensemble (1865/7) from the Metropolitan Museum of Art. Paris was the style capital of the world throughout the 19th century, and French fashions were seen as forward-thinking and trend-setting-i.e., “modern.” According to Grooms, “Fashion was synonymous with modernity,” a notion reflected in the work of the Impressionist painters who rejected academic subjects in favor of depictions of modern life. Organized by the Art Institute, the Metropolitan Museum of Art and the Musée d’Orsay, the exhibition is on the final stop of a three-city world that included Paris and New York.Ĭurated by the Art Institute’s Gloria Groom, in collaboration with her New York and Paris colleagues, the ambitious show explores the confluences of history, social mores, literature, art and fashion during the late 1800s. (Although she'd likely enjoy it.) Billed as “the first to uncover the fascinating relationship between art and fashion” of the time, "Impressionism, Fashion and Modernity" brings together an impressive selection of more than 75 figure paintings alongside a collection of vintage garments.
But this isn't your mom's Impressionist show. Courtesy Deralf/Bangumi.It would be easy to dismiss the Art Institute’s big summer exhibition as yet another survey of French Impressionism. Join Andrew Bolton, the Wendy Yu Curator in Charge of The Costume Institute, on a tour of the exhibition Karl Lagerfeld: A Line of Beauty.īoth videos directed by Loïc Prigent (French, born 1973) and produced by Deralf/Bangumi. (The rest of the Museum is not open during these hours.) Met Member Morning Hours: 9–10 am every Thursday, Saturday, and Sunday starting May 6. Special AccessĮvening Hours: Every Sunday until 9 pm. Bags larger than 11 x 17 x 5 in (28 x 43 x 13 cm) - Backpacks - Strollers (parking is available adjacent to the exhibition) - Liquidsįree bag and coat check is available. Access is first come, first served and subject to capacity limitations.
FASHION ART INSTITUTE OF CHICAGO CODE
You must join the virtual exhibition queue via QR code once inside the Museum. Listen to an exhibition playlist created by Michel Gaubert, the Paris-based music supervisor who frequently collaborated with Karl Lagerfeld. To access the booklet of all large-print exhibition text, click here. Lagerfeld’s fluid lines united his designs for Balmain, Patou, Chloé, Fendi, Chanel, and his eponymous label, Karl Lagerfeld, creating a diverse and prolific body of work unparalleled in the history of fashion. Most of the approximately 150 pieces on display will be accompanied by Lagerfeld’s sketches, which underscore his complex creative process and the collaborative relationships with his premières, or head seamstresses. Focusing on the designer’s stylistic vocabulary as expressed in aesthetic themes that appear time and again in his fashions from the 1950s to his final collection in 2019, the show will spotlight the German-born designer’s unique working methodology. The Costume Institute’s spring 2023 exhibition will examine the work of Karl Lagerfeld (1933–2019).
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