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The women painted by American Impressionists typicallybelonged to the upper social classes. Access to wealth clearly dictatedwho could afford to commission portraits, but genre scenes also usuallyfeatured women of the leisure class. They were often presented in interiors,engaged in such productive activities as reading and sewing. Edmund Tarbell also created paintings, such as Rehearsal in the Studio (Plate 42), thatfeatured women in small groups performing music. Here a woman stands atleft, about to sing from the sheet music in her hand, while a seated manacross the room on the right holds a violin. A seated woman rests on thearm of a chair, music held in her relaxed right hand and her head turnedtoward the floor. Two other seated figures on a sofa in the middle of thecomposition, their heads in their hands, appear to be bored with the afternoon'scultivating activity. All three seated women allow their bodies to fallfrom the crisp postures they would be expected to model in public. Picturesseen within the painting, including a Rembrandtesque portrait at left andthe Diego Velázquez portrait of Pope Innocent on the back wall, contributecultural refinement to the environment. Tarbell cleverly reverses the figurein Velázquez's painting, so that the Pope accords the singer theattention that her friends do not. Tarbell's pleasing scene of women developingtalents appropriate for young socialites would have been a familiar reflectionof Boston life. Sargent's Venetian Water Carriers (Plate 31), showingwomen at physical labor, was a less common American Impressionist imageof women and conveyed an undeniably picturesque foreignness.
Work and leisure, city and country, the familiar and theexotic, innovation and tradition -- these are some of the social and aestheticdynamics that enriched American Impressionist paintings. Theemergence of an industrial economy transformed the United States in waysthat had profound impact on all aspects of life, including art. For thefirst time, large numbers of middle- and upper-class people lived in urbanenvironments and had unprecedented amounts of leisure time. The significanceof that newfound temporal freedom is particularly evident in the picturesquelandscapes that the Impressionists chose -- the coastlines. woods, parks,and vacation spots; these were the landscapes of escape from the citiesthat were rapidly becoming the centers of modern life. Leisure is also akey element in the figure paintings of the period, whether the people depictedin them are picking flowers, reading, or taking a break from sipping teaor riding. The style and technique these artists developed in relation toFrench painting helped convey their message. The brightlight and vibrant colors with which they crafted their impressions lenda halcyon quality to the scenes they painted. Even their more melancholicstatements such as Benson's Girl Playing Solitaire and Hassam's TheNew York Window seem to hit at the restorative property of rest. Exhibitionsof paintings by the American Impressionists were applauded for their ameliorativeeffects. Heralding a 1911 show of works by The Ten, one critic wrote that"The room in which the twenty-one canvases are hung is suffused byday with a mellow light and is made restful by the beauties of the art andsubtle harmonies of the arrangement."[75] American Impressionist paintings offered a poetic beauty and releasefrom the everyday world, and emerging museums responded by collecting theseworks for the rejuvenation and enrichment of future generations. 041b061a72