Rt History:Castagnarys Critical Anaylsis of Manets Exhibition on Blvd des Capucines Supported by 3 Impressionist Paintings
This paper is to focus on the French art
Jules-Antonio Castagnary and his critical repsonse to
Impressionist artist Edouard Manets 1874 painting,
The Exhibition of the Boulevard des Capucines.
First, the paper is to critically analyze this
critic/author; then, using that critical argument,
interpret how, theoretically, Castagnary could have
developed such perspective.
Prof recommends beginning the paper with a brief
summary of Castagnarys argument and evidence,
satisfying questions such as:
Why is the author writing this? What is the
sifnificant problem which the author wishes to
address? What kind of evidence does the author use?
Is Mr. Castagnary making an historical argument or a
theoretical argument? Is the point more to explain a
particular moment in time or is the argument meant to
use Manet and the Impressionists to explain a broader
The paper should then become an extended discussion
either for or against Jules-Antonio Castagnarys point
of view. We have permission to freely argue for or
against Castagnarys point of view, but the views are
to be clearly defended or argued: Prof strongly warned
us against being vague or politically correct,
instead we are recommended to clearly state our views
on questions such as Is Castagnary right or wrong? Is
his criticism valid? etc.
Because Castagnary is presenting a general discussion
of how we can understand Impressionist painting, it is
recommended that we comment on whether his evidence
seemed relevant and helpful in understanding the
topic; and we are further encouraged to state whether
we feel there are types of evidence (formal, social,
political, institutional) that Castagnary does not
address that might be helpful in analyzing art.
We are required to support whatever argument we have
made thus far by using as evidence [of what was going
on in the world or in France, at that time, for
example] 3 paintings in the National Gallery of Arts
Manet and Impressionist galleries, by at least 2
different artists. Ideally, the evidence will be in
elements such as the arts color, brushwork, subject,
perspective, space, and light.
In essence, our goal is to present the argument of
Jules-Antoine Castagnary, while analyzing his method;
to be followed by our own (the writers) opinion of
what kind of evidence seems most convincing in terms
of explaining a work of art.