In a recent Impressionist auction held at Christie’s in New York, a series of works by Vincent Van Gogh painted and created during the final years of his life, sold for an eye-watering $150 million. During the same event, works by other major Impressionist names, including Renoir, Morisot, Monet, and Degas, collected a total of $332 million, while an oil on canvas by Gustave Caillebotte smashed all previous records when the Getty Museum made a purchase of $53 million – a figure that almost doubled the previous 2019 record. In one of the first major exhibitions held partially in person in over a year, one theme seemed to be prevalent: Impressionism was making a comeback.
An appreciation of Impressionist art is nothing new of course; art aficionados have long admired the works of artists rebelling against the Parisian mainstream during the 1860’s, and this is a movement that has long inspired and influenced art across Western history. Figures such as Van Gogh and Monet have long enjoyed a following even outside of elitist art circles, and their works have been replicated and reproduced in mediums from dishcloths to reproduction prints – much to the horror of those who believe that art should be reserved to its purest forms. The record prices set at the recent auction, however, suggest that public taste and appreciation is once again returning to favour the work of the Impressionist artists, and this is interesting to consider as we emerge into a post-pandemic world.
There are a number of potential reasons for the increase in popularity; this auction was amongst the first to occur in a “hybrid” format, with bidders physically present in the room, as well as participating virtually. This is likely to have had an impact on prices, as the inevitable “auction fever” took hold, and collectors found themselves swept up in the fervour and joy of physical bidding. An increase in supply is also likely to have had an impact; after an extended period of sellers holding their pieces, the auction saw a number of major pieces finally emerging for purchase. In addition to these practical and plausible explanations for the record prices and increased interest, however, it is possible that the very essence of Impressionism is having a revival in a world that is emerging from a state of global emergency.
While many observers may now consider Impressionist paintings to be dreamy, gentle creations, the truth of their origins are far from this perception: in their day, Impressionists were considered to be radicals. While Parisian etiquette dictated that all paintings must be displayed at the Salon in order to maintain standards of civility – and, if truth be told, to allow them to monitor the consumption of art by the lower classes – the Impressionists rebelled against this by setting up their own independent exhibitions, and deviated from the expected norms through their portrayal of modernity in their pieces. They acted as revolutionaries, pushing the boundaries of public morality to the limits, and aligned themselves with authors of the day who were shocking readers with their scandalous creations.
Could it be, then, that this spirit of rebellion, of revolution, and of blatant rejection of conformity, is stirring the spirits of those observing art in 2021? Could there be a desire to harness this feeling of change, of fresh new ideas, and of very literally altering the way in which the world is portrayed and viewed, and a rejection of the authoritative systems which have dominated the lives of ordinary people over the last few years? Henri Matisse once stated that “Impressionism is the newspaper of the soul.” Though it remains to be seen whether this trend for the movement continues in future auctions, the headline of this newspaper seems to be clear: Impressionism is making a comeback.