Impressionist Opera House Critical Analysis Paper

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The Impressionist Era of Paris during the late 19th century was a revolutionary movement against the salon-styled Parisian art exhibitions that had formed and taken prestige, simply not waiting for Paris to accept their work before exhibiting the work. While drastically different from the art of the Parisian salons, Impressionism has become a marker of modernity, technique, light studies, and coloring. This is certainly the case in Mary Cassatt’s “In the Loge,” and Edgar Degas’s “Ballet from an Opera Box.” However, despite the similar scene of the social and pivotal Parisian Opera House and the acquaintance of the Impressionist movement and technique, the meaning and depiction as well as the way the interplay between the performers, spectators, and viewer are strikingly different between the two paintings. Cassatt’s “In the Loge,” details unique commentary on the role of women through the techniques and formal qualities displayed in the work. Cassatt decides to show the women in the loge in black clothing, which is significant because the only other women wearing black are much older than that of the main subject and that the men in surrounding boxes are wearing black as well. The fact that the woman’s hand and fan are below the point of the railing, making them invisible to everyone except the viewer, creates an interesting dilemma to the painting. The daintiness of the fan and the graceful expression that is representative of the ballet and the Parisian societal woman is hidden; a stark contrast from the role a woman was expected to play in the opera house and the femininity of the opera house itself in color and in the details of the architecture. Cassatt uses color, shadow and the positioning of her opera house heroine to be satirical of the difference between masculinity and femininity. The use of the impressionist sketch like detail is very evident in the
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