An upcoming show at the Cleveland Museum of art may confound and complicate the usual view of Impressionism as depicting the good life in 19th-century France.
CLEVELAND, Ohio — The Cleveland Museum of Art wants to complicate and confound your impressions of French Impressionist painting.’' on view from Sunday, October 8, through Sunday, January 14, explores how Edgar Degas and numerous other late 19th-century French artists depicted the brutal industry that kept Parisians in clean shirts, dresses, bedsheets and lingerie.
Employers encouraged laundresses to drink on the job to dull their pain and despondency. Lacking childcare, laundresses often brought their children with them to unsanitary workplaces. When they couldn’t get by, some laundresses resorted to prostitution. For men, laundresses sometimes represented sexually available women. And because they worked in small, hot, steamy spaces, laundresses often wore skimpy blouses to stay comfortable, contributing to perceptions of loose morals.
Gustave Caillebotte was known for depicting elegant Parisians strolling new boulevards designed by city planner Baron Haussmann to slice through claustrophobic medieval streets. In 1888-92, Caillebotte painted a shimmering view of laundry drying on a line above the banks of the Seine. A pair of laundry boats, or bateaux-lavoirs, which plied the river, are moored nearby.
Salsbury said she began her research for the Degas show in 2018 and 2019 but sharpened her focus in 2020 during the pandemic when she realized that the laundresses painted by him and other artists were “essential workers’' whose labor was critical to a functioning society, even though it was disrespected.Degas could identify, she said.
In an 1876 Impressionist exhibition in Paris, Degas showed a painting of his family’s cotton office in New Orleans alongside several of his laundress paintings. Zola’s novels included “L’Assommoir,” published in 1877, which charted the demise of a laundress who dies on the street, where her untended body decomposes while passersby ignore it.
“We have to look at them as pictures of women who were sexually available,’’ she said. “They were images of women made for men, to be viewed in private in private homes.”
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