WILLIAMSTOWN -- Light -- it can be an artist's best friend or worst enemy. It creates shadows and defines the vibrancy of color. It can declare a mood or shape a setting.
Artists have experimented with light in their paintings for centuries, but a new exhibition at the Sterling and Francine Clark Art Institute undertakes the question of how the introduction of artificial light in the late 19th century impacted artistic depictions of illuminated spaces.
In "Electric Paris," which opens Sunday and runs through April 21, S. Hollis Clayson, a former Clark Fellow and guest curator, explores the way Paris, the "City of Light," became defined not just by its beautiful daytime sky and star-filled night, but also by the artificial light that would come to preoccupy many French and American artists.
Clayson, who will publish "Electric Paris: The Visual Cultures of the City of Light in the Era of Thomas Edison" later this year, developed the exhibition during her 2009 fellowship at the museum. Previously, she was a fellow in 2003 and a visiting Clark professor in 2005.
"The exhibit not only examines the introduction of electric light but a wide variety of types of light," Sarah Lees, associate curator of European art and point-person for the exhibition, said Wednesday. "We begin with a sort of prologue, works that show natural light, and work our way through the various introductions of light in Paris -- oil lamps, gas light and
In "Waltz at Mabille," a color lithograph by Gustave Barry and Philippe Jacques Linder, the artists use three different types of light in a single setting to set the tone of the work -- a commentary on the notorious Bal Mabille dance hall, the first to be entirely lit by gaslight.
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Other paintings of outdoor spaces, such as theaters, use the glow of artificial light to emphasize the light-heartedness of social gatherings.
"We see the beginning of the blurring of boundaries," she said. "These people are perfectly comfortable in the light at night, but there's also an artificial quality to the illumination."
As the technology grew, no space was exempt from artificial light, and artists began to reflect that as they painted domestic scenes. As the exhibit moves into private spaces, a trio of color lithographs from Edward Vuillard's "Landscapes and Interiors" series highlights the way light intruded into private homes.
"When we talk about Vuillard, we tend to talk about colors and patterns," Lees said. "But if you look at these three lithographs, you'll find he's highlighting the lighting fixtures, which are more dominant than the people. He uses deep shadows and positions the women in the prints behind the fixtures, suggesting that the light is uncomfortable. You get a sense that the light is too bright."
In another part of the exhibit, James Tissot's "The Ladies of the Chariots," is used as an example of how light could impact perception. In the piece -- set in the Hippodrome de l'Alma, a large entertainment venue which used electric arc lights -- Tissot glamorizes the extravagantly costumed equestrian performers.
"There was a comment made about this piece at the time, which said something about how the women were not as beautiful as depicted. The light of the venue was able to confer a greater appeal to its performers," she said.
Other works, such as Alexandre Lunois' "The Department Store," and Pierre Bonnard's "The Square at Evening" depict how artificial lighting could change the atmosphere of public spaces.
"In ‘The Department Store,' it's brightly lit and there is a huge crowd, yet there is no sense of discomfort," Lees said. "Yet, in Bonnard's piece, which is outdoors and at night, we get a sense that the light is spilling out into the street. It's too bright and too dark at the same time, which creates this sense of unease and discomfort."
To reach Jennifer Huberdeau, email
jhuberdeau@thetranscript.com
The essentials
Exposition Universelle
What: Opening gala in celebration of "Electric Paris." Hors d'oeuvres and drinks will be served from exotic international pavilions while guests enjoy period music and art. Roberto Cassan will play traditional French accordion music, and John Shamburger will draw caricatures of party guests.
When: Saturday, 6 p.m.
Where: Sterling and Francine Clark Art Institute, 225 South St., Williamstown
Tickets: $50 for non-members and $40 for members. Tickets can be purchased online at www.clarkart.edu or by calling 413-458-0524.
Art in the City of Light(s)
What: Lecture by S. Hollis Clayson, former Clark Fellow and curator of "Electric Paris"
When: Sunday, 3 p.m.
Where: Sterling and Francine Clark Art Institute, 225 South St., Williamstown
Cost: Free
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