Developing Our Inner Flâneur

In Defining Impressionism, Smith in part (and vaguely) defines the Impressionist movement as the perception of the artist in response to ideas that they encounter. The revolutionary artists were moved by the romanticism of daily life. What they painted was not only their first impression, but also their lasting impression. Impressionism is also defined as a rejection of the classical training of contemporaries. Impressionists favored mobility and progress over stagnant art.

Impressionist art also allows the viewer to develop a physical relationship with the painting. In his essay, Smith asks us to become a Flâneur or a “casual man of leisure,” when viewing the paintings. The flâneur comes upon the scene and participates in the painting. As in real life, there are no structural manipulations to direct the flâneur’s attention and no single viewpoint.

In some ways (and in a historical narrative), Impressionist painting mirrors the mysterious and rapid-paced cities in the mid 19th century. The paintings are brought to life with the seemingly spontaneous brushstrokes. The anonymous faces passing by in the crowd and fleeting images of the city were part of the modern city experience in which these subversive artists lived.