Paris in Ruins: The Siege, the Commune and the Birth of Impressionism

by Sebastian Smee

Pulitzer-winner Sebastian Smee relives the remarkable birth of Impressionism from the ashes of war The perfect Christmas gift for art lovers
'Enjoyable... a fine portrait not only of impressionism but the society that made it possible' THE SUNDAY TIMES

Paris, January 1871 – the final, agonising days of the Franco-Prussian War. As the German army cements its advantage, shells rattle through the Left Bank. It is a bitterly cold winter; there is no fuel, no medicine, no food. The city’s poorer citizens have long turned to eating rats, cats and dogs. France has been brought to its knees.

Édouard Manet, Berthe Morisot, and Edgar Degas are trapped in the besieged city. Renoir and Bazille have joined regiments outside of Paris, while Monet and Pissarro fled the country just in time. Out of the Siege and the Commune, these artists developed a newfound sense of the fragility of life. A feeling for transience – reflected in Impressionism’s emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things – would change art history forever.

This is the extraordinary account of the ‘Terrible Year’ in Paris and its monumental impact on the rise of Impressionism.

***

'Vigorous and enjoyable' DAILY TELEGRAPH

'Smee has a gimlet eye, a seductive style and a novelist’s feel for character and incident' NEW YORK TIMES

'Detailed, lively and at times richly novelistic' LITERARY REVIEW

Genres: History, Art, Nonfiction, France, Art History, Biography, Audiobook

500 pages, Kindle Edition

Published October 17, 2024

Reviews

[Liz · Rating 4 out of 5]

I read this prior to visiting the National Gallery of Art exhibit, Paris:1874, the Impressionist Movement. I thought it would give me a good background as this book covers the “Terrible Year” from summer, 1870 through spring, 1871. And it did help, a little bit. While the subtitle would have you believe that the time period is seen purely through the eyes of the artists, it’s a much broader picture. It provides an in depth exploration of the war and the politics of the time. In fact, the author specifically says it is “an attempt to knit together art history, biography and military and social history.” The beginning and end of the book speak more to the artistic movement. But there’s very little in the middle about art. Basically because during that terrible time, none was being created. Manet, Morisot and Degas stayed in the City; Renoir and Bazille were in the army. Monet and Pissarro fled to England.
The value of the book is providing the background, a reminder that art doesn’t occur in a vacuum. I also appreciated learning so much about Berthe Morisot and my fingers are crossed that the National Gallery exhibit contains a lot of her work.
I do wish that the book had the art interspersed within the chapters. Kindle doesn’t make it easy to flip back and forth between the writing and the pictures at the back. I found myself instead googling most of the art.

Update - I just visited the Paris 1874 exhibit at the National Gallery of Art. This book definitely helped me appreciate the exhibit. Anyone going, I definitely recommend reading this first.

[Bruce Katz · Rating 5 out of 5]

The book opens on a blustery day in October, 1870. A man, wearing an arctic overcoat with fur hat in hand, makes his way against a blustery wind. He is Leon Gambetta -- politician, lawyer, photographer. Gambetta is well-known around Paris, a frequent visitor to the city's taverns and salons. He knows lots of people, among them a notorious young artist named Edouard Manet of whom he is particularly fond.

This day, though, Gambetta has no plans to socialize. He is rushing through the streets of Paris to a plaza from which he will ascend in a hot air balloon. It is dangerous business, flying in these balloons. More than one group of passengers has found itself carried by strong winds at higher altitudes and borne hundreds of miles away from where they hoped to go. But Gambetta has no choice: Paris is completely closed off, surrounded by the Prussian army. Today Gambetta hopes to use the balloon to carry mail and parcels out of the city. But first he must see his friend Victor Hugo. Then he will climb into the balloon’s basket and ascend to the sound of onlookers below shouting Vive la Republique and Viva Gambetta.

Look, I'm not an art historian or even a reader about art and artists. I never thought I'd use the word "compelling" to describe a book about Impressionists in 19th century Paris. But yeah, the book is absolutely compelling -- as in, I didn’t want to stop reading.

The subtitle of the book says it all: “Love, War, and the. Birth of Impressionism.” Pulitzer Prize winning author Sebastian Smee examines the birth of Impressionism in its volatile historical context: amidst angry debates about whether France should be a Republic, a Monarchy, an Empire, or a socialist something-else; the Franco-Prussian War (begun by a completely unprepared France in a moment of insanity) that sent Parisians fleeing out of the city and left those who couldn't escape to eating rats (the big ones cost more, of course) and relying on hot air balloons to get and send news and letters; the unsteady cease-fire after France lost the war because Prussia didn't know who they could negotiate peace with; the subsequent hideously violent civil war that broke out in Paris, with snipers and firing squads and Frenchmen outside Paris aimed cannons at the French people inside the city.; and amidst all this, the experiences of Manet, Berthe Morrisot, and other artists we now know as Impressionists (the Old Guard saw some signs of talent in some of the work of these young artists but wondered why they were painting such banal subjects and leaving their paintings as "sketches" rather than finishing them).

As I write this I'm limited in my ability to type but I really need to express at least some of the great pleasure I felt reading this book, particularly after seeing the exhibit on the subject at the National Gallery of Art. (Viewing the exhibit was what made me pick up the book in the first place.) The single regret I had with the book was that there weren't nearly as many illustrations as I would have liked, but buying the pricy exhibit book took care of that.

[Mark · Rating 4 out of 5]

It may not be a coincidence that this book debuts two days after the September 8 opening of the DC National Gallery's exhibition: "Paris 1874: The Impressionist Moment". I'd have a hard time making the case that you need the background in this book to appreciate the exhibition, but it's easy to make the case that this is a solidly good read. The focus is the events surrounding the fall of Napoleon III, the Prussian siege of Paris in 1870, and the Paris Commune and its brutal suppression. By allowing us to perceive these events through a few characters - Edouard Manet, Berthe Morisot and to a lesser extent Edgar Degas - the narrative has a "you are there" quality that shows how these events were experienced by citizens (albeit citizens of considerable privilege, something author Smee would readily acknowledge).

Perhaps the books greatest accomplishment is putting Berthe Morisot right up there with her better known male counterparts. The descriptions of why her paintings are important are outstanding.
While a few plates are provided, you'll probably want a device nearby so you can search for some of the other paintings.

The culmination of the book is in fact the impressionist exhibition of 1874. Did the rejection of authority resulting from the turmoil of the 1870s in fact speed up the impressionist movement? It seemed to me that these painters had already been bristling against the academy for a long time.

My favorite part of the book actually had little to do with art. It involved the use of balloons to get mail out of Paris, and carrier pigeons carrying an early version of microfilm to bring mail back in. I also had no idea of the brutality that surrounded both the founding of the Paris Commune and its even more brutal suppression. If I'm skeptical of the thesis that these events are what spurred impressionism it's likely a compliment to the author, as he did not oversell the idea.

Recommended for history and art buffs. Thanks to NetGalley and the publisher for providing an early copy for review.

[Alan (the Lone Librarian rides again) Teder · Rating 4 out of 5]

Manet and Morisot during The Terrible Year*
A review of the Tantor Media audiobook (September 10, 2024) narrated by Julian Elfer and released simultaneously with the W.W. Norton & Co. hardcover original.

Smee's Paris in Ruins primarily covers the lives of artists Édouard Manet (1832-1885) and Berthe Morisot (1841-1895). It centres on the months from July 1870 through to May 1871, particularly on the disastrous Franco-Prussian War (19 July 1870 to 28 January 1871 ) and the tragic Paris Commune (18 March 1871 to 28 May 1871) which followed shortly afterwards.


"Impression, soleil levant" (French: Impression, Sunrise) (1872) by Claude Monet, the painting which inspired the name of the Impressionist movement in art. Image sourced from The Very First Painting of Impressionism.

These were also the years that gave birth to the French artistic movement later described as Impressionism. Many of those artists make cameo appearances in the book or are at least mentioned in passing. There is a symbolic tie-in drawn between the freedom of the brush strokes in impressionist art with the freedom sought by French Republicans after the downfall of Emperor Napoleon III (1808-1873) and associates such as Emperor Maximilian I of Mexico (1832-1867).


The Execution of Emperor Maximilian (last version, 1868–69) by Édouard Manet. Image sourced from Édouard Manet - The Yorck Project (2002) 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202., Public Domain, Link

There is of course much horror in the city besieged and bombed** by Prussian forces with the resulting deaths of masses due to disease, starvation and war. However, nothing beats the sad pathos of the stories of the Paris Zoo animals who were gradually culled for meat in order of their public popularity, leaving the favourite duo of elephants Castor and Pollux for the very last.

The fall of Paris was followed by the extreme forces of the Commune which managed to stage its own Reign of Terror only to end after 72 days with the ruthless extermination of any and all suspected Communards (women and children included) by the French Republican army forces who re-took the city.

Through this all we have the unrequited love story of Manet and Morisot. The already married Manet expressed his love in a series of regular paintings with Morisot as his model. Morisot in turn married Manet's brother as a second best alternative, although the marriage was a happy one.

I picked up Paris in Ruins via an Audible Deal of the Day. The narration by Julian Elfer was excellent throughout.

Footnotes
* The term "The Terrible Year" for this period was coined by author Victor Hugo (1802-1885) in a cycle of poems titled L'Année terrible (1872) "Covering the period from August 1870 to July 1871, a group of poems encapsulates each month, blending Hugo's anguish over personal tragedies with his despair at the predicament of France."
** Apparently this was the first ever explicit targeting of civilians via bombardment in "modern" warfare.

Trivia and Links
An audiobook edition is of course missing the several pages of photos and painting reproductions included in print editions of this book. It is still easy enough to look through Wikipedia's pages for Manet's and Morisot's paintings which you can see here and here.

[Jonathan Crain · Rating 5 out of 5]

Have you ever considered how much art owes to the chaos of history? Sebastian Smee's 'Paris in Ruins: Love, War, and the Birth of Impressionism' might change how you look at a painting forever.

This captivating book takes readers on a vivid journey through one of the most tumultuous periods in Parisian history, known as the 'Terrible Year.' From the German siege of Paris to the radical Commune uprising, Smee masterfully captures these dramatic events through the eyes of iconic Impressionists like Édouard Manet, Berthe Morisot, and Edgar Degas.

Smee compellingly portrays these artists not just as painters but as individuals deeply impacted by the shifting tides of history. He convincingly argues that Impressionist works are more than just 'pretty pictures'—they are profound reflections on the fleeting nature of life in a world perpetually on the brink of collapse.

The author's writing is not just scholarly and insightful but intensely immersive. Listening to the audiobook, narrated superbly by Julian Elfer, I found myself transported into the scenes of the paintings Smee describes. His prose doesn't just narrate history; it paints it, allowing readers to feel the textures, smell the air, and hear the distant sounds of a city under siege.

More than just a study of art history, 'Paris in Ruins' is a commentary on how art and politics intertwine. Smee makes a compelling case for how the 'Terrible Year' tumult reverberated through France's cultural and social fabric, leaving an indelible mark on the art world.

While one might expect to be occasionally overwhelmed by the wealth of historical detail, this is not the case. The book excels in both its narrative and analysis.

'Paris in Ruins' is an intelligent and absorbing read that challenges our understanding of Impressionism and its roots. Whether you are an art enthusiast, a history buff, or simply a lover of well-crafted narrative nonfiction, this book will leave you seeing the Impressionists—and perhaps the world itself—in a new light. I will add a hardcover of this book to my library, where it will occupy a prominent place. For those who enjoy audiobooks, the narration by Julian Elfer adds another layer of enjoyment to this already rich experience.

This review is of an advance reader copy provided by NetGalley and Tantor Audio. It is currently scheduled for release on September 10, 2024.

[Camelia Rose · Rating 4 out of 5]

Paris In Ruins is a combination of military history, art history and biography. How French Impressionism started in a time of bloodbath and why it was considered rebellious when it first came to be are two questions the author answered in the book. As someone who knew very little about the 1870 Franco-Prussian War, this book is a good introduction. I find the aftermath (the civil war) more chilling to read. History doesn't repeat itself, it rhymes.

The book discussed several artists, but mainly Edouard Manet and Berthe Morisot. I especially enjoyed reading Berthe Morisot. What a rare example in her time that a career woman didn’t sacrifice for marriage and motherhood! She got it all.

Paris In Ruins reminds me of Paris 1874: The Impressionist Moment, an exhibition at the National Gallery of Art in D.C., which I visited with a friend back in January.

Quotes:
“They may have painted landscapes that had recently witnessed terrible violence, but the Impressionists were disinclined to directly depict the reality of 1870 to 1871, this in retrospect can seem stunning. Was it a collective act of psychological oppression, or was it an attempt, conscious or otherwise, of recuperation, an assertion of pacific values as an antidote to violence and trauma? Both in fact could be true, but the better explanation is simply that impressionist artists were in revolt against the state sanctioned hierarchy of arts. Those old modes had placed a premium on depiction of edifying episodes from history or myth, including acts of martial valor. Paintings in this vein, often heavily allegorical, hugged all the space and attention of the Salon, and over the previous decade, Manet and his followers had increasingly grown disgusted with them. To them, the rhetoric behind such paintings, much of which tied with state power that already played out in the final decade of Napoleon the Third's regime, had become intolerable. Now in the wake of the Terrible Year, young painters had recoiled from the delusional raving of the men, whether of the left or the right, who were willing to sacrifice sons and daughters, stability and security for absurd and hopeless causes. Morisot, Monet, Pissarro, Sisley, Renoir and Cezanne were choosing to depict the world as it was, as it met their eyes, here and now without any sense of hierarchy.”

[Tali Gorodetsky · Rating 5 out of 5]

deeeeeeeeeply enjoyed this one. i wrote a big long review then it didn’t save (sad). here’s the TLDR:

- big yes to using archival letters to make a point / add depth / explore the characters
- loved the narrative flow
- not fully convinced by the whole édouard and berthe loved one another deeply , but it is clear they were close and intimate (though more seemingly in the friend sense)
- i cried at the end
- really glad to read during this political moment & learn how these artists shared their opinions, balanced politics and their creativity/careers, found solace

[Rupert Osborn · Rating 5 out of 5]

This book is a beautiful weaving of art and history that describes both a succinct historical context of France in the late 1800s and intimate portraits of the early impressionist's relationships. France seems to be uniquely capable of producing both the highest art and most debased human behaviour.

[Robyn Bauer · Rating 5 out of 5]

I loved this book from beginning to end. It probably helped that I am very familiar with this period of French history and I certainly all the artists were familiar to me. It was a revelation however to find out more about Berthe Morisot. The big advantage these days is that you can look up every painting on your phone as you go or look at a larger version in an Art book. The privations during the siege and the violence of the aftermath were much worse than I’d realised.

[Kimberly Schlarman · Rating 5 out of 5]

I didn't think that I could be surprised by Impressionism anymore but this book showed me a new way of looking at the movement.

I've read Baudelaire and I'm familiar with the aims of the Impressionists and early modernists. But I had no idea how living through the Franco-Prussian War, the Siege of Paris, the Commune, and the political instability of the 1870s affected these artists. When looked at through the lens of the traumas these artists experienced, it's not just about capturing the transitory effects of light but also the ephemerality of life itself. Knowing that some of the beautiful landscapes on display at the first Impressionist Exhibition were the sites of battles two years earlier gives these paintings a psychological depth not usually associated with Impressionism.

Also, I just love Morisot. Her brushwork is so much looser and more abstract than the other impressionists and I'm happy to see her get the attention she rightfully deserves.

[Kate Cornfoot · Rating 3 out of 5]

I came for the art and was delighted; the history of the Siege of Paris was just a little too dense for my interests. Superbly written - Berthe Morisot is the true hero of this book and of Impressionism.

[Sungyena · Rating 4 out of 5]

Highly rec for anyone who wants to know the context on why the impressionists broke away from the french salon and their history books basically said “because politics”. Oh the violence. Also go get it, berthe morisot she was a bad b.

[Stephen · Rating 2 out of 5]

Never has art and history felt so flat and lifeless. I struggled to stay motivated to finish this book.

[Claudia · Rating 4 out of 5]

Artists, lovers, War, Civil War, and the birth of Impressionism. I learned so much!

[Cynthia · Rating 5 out of 5]

A great book. About the experiences of Eduard Manet and Berthe Morisot, the Impressionist painters, during the Siege of Paris in 1870, and then the violence of the Commune. The terrible year. I knew very little about this part of French history, and Smee's descriptions are amazing. The balloons precariously carrying mail out of Paris. The woman shot just because her belt was red. How during the Siege only rich people could afford horse and donkey meat--everyone else ate rats. The people lined up and shot by teenagers. The shifting political views of the painters. The two beloved elephants that have to be killed because people need to eat. The love of Berthe and Eduard. I'm not sure that Smee makes his argument well--I think his argument was that the Impressionists paintings weren't all lightness and prettiness, because some of the painters had just been through this horror--but still, an absorbing description of this period of art history.

[Julie Stielstra · Rating 1 out of 5]

I’m an old art history student, well-versed in the Impressionists, and a confessed Francophile with a love for Paris and French literature. I read Sebastian Smee’s regular art columns in the Washington Post with pleasure. So I was eager to read this book and asked my local library to track it down for me, which they happily did.

What a disappointment. I tried for several days, and today I gave up after less than 100 pages.

Maybe Smee excels at 1000-word newspaper articles because an editor tells him, “Seb, you’ve described Manet’s swept-back hair and golden beard twice already. You’ve called his manner ‘breezy’ several times. Truly, Seb, do you have, um, a thing for him? Oh, wait, you’re also very into Berthe Morisot’s dark eyes and yes, she’s quite beautiful, but enough is enough, okay?” Pedestrian, repetitive, and mostly just not interesting.

What I *am* interested in is the art. There is lots of it - yay! Nearly every page talks about particular paintings by Manet, the Morisots, Degas, Bazille, Carolus-Duran, Fantin-Latour, Puvis de Chavannes, et al. Hardly any of them are illustrated in the book. So, you must fall back on your web browser to be able to see what he’s talking about. When Berthe Morisot declares a portrait of one artist’s wife “rather vulgar,” don’t you want to see what it looked like? I do. But not having to put the book aside and mess with DuckDuckGo over and over. For a recent book on art I really enjoyed, the author (an artist himself) took the trouble to set up a website with links to images of all the paintings he discussed, with the titles, artists, and page number of the book where they were described. I wish Smee had engineered something similar.

Then we arrive at the Terrible Year of 1870. There are pages of the historical buildup. Name dropping of politicians and factions sprinkled throughout, but the Revolution of 1848 was dismissed in about three long paragraphs (sorry, fans of Les Miserables). Maybe I quit too soon, but the rather dry infodump of names and events just finished me.

I will continue to enjoy Smee’s brisk and engaging critic’s columns, absolutely. But maybe a complicated tome like this one just isn’t his best medium. If I were writing my own academic piece on this era, I would use this book as a source. It’s just not pleasure reading.

[Océane G · Rating 4 out of 5]

EXCELLENT - next one is Paris in Ruins: dans la France à Macron

[Joseph Adelizzi, Jr. · Rating 5 out of 5]

This paradoxical book was difficult to read on many levels.

By far the most difficult aspect to experience was the book's multiple narrative sketches of man's inhumanity to man before, during, and after the Franco-Prussian war. Each horrifying sketch had me asking why - why do men do this to each other? Of course there are the usual suspects of greed, money, and power, but Smee doesn't allow us to ignore the lesser known perpetrators like vengeance and pride, to name two.

The book was also difficult to read on an artistic level. This level left me as incredulous as the first level. Why do so many "experts" feel the need to go beyond subjective evaluations, beyond even mocking, all the way to suppression and retaliation (retaliation for what, though, I don't know)?

So many warring factions! French vs Germans, religious vs secular, conservative vs radical, conservative vs republicans, republicans vs monarchists vs Bonapartists, Communards vs take your pick, artists vs artists, family vs family, friend vs enemy, friend vs friend.

All the loss. Not just the loss of life. The loss of security. The loss of joie de vivre. The loss of masterpieces. The loss of artists. The loss of innocence. The loss of self.

It was also difficult to read of the systemic suppression of Edma Morisot's talent, which some experts evaluated more highly than those of her talented, intelligent, empathetic sister Berthe. Society's norms forced her to give up her artistic aspirations when she married, as she was expected to focus on supporting her husband, having, and raising children, and foregoing any artistic pursuits she desired. Nero’s last words, ”qualis artifex pereo,” reverberated as I read of Edma Morisot, of Frederic Bazille, of others who were needlessly stifled or snuffed out almost before they had begun. “What an artist dies with her… with him… with them.”

Humanity lost so much during this war/siege and the subsequent civil conflicts. And there was so much ugliness. Yet somehow, paradoxically, out of it all we found so much beautiful new and lasting art, a new and refreshing approach to art, and even the Paris of today.

Speaking of Paris, and on a lighter note, was the difficulty I had repeatedly distinguishing "Parisian" from "Prussian." I hate to admit how many times I had to double back to get things straight.... I just now had a strange thought, a hopeless, hopeful thought that there is, in the end, no difference between the two. Did I say a lighter note?

[Ann Otto · Rating 3 out of 5]

Art and history lovers will like this book about the lives of the Impressionists in France in the late 1800s. Their personal and professional lives and politics are the focus. Culture was changing as fast as the French leadership and the Franco-Prussian war of 1870-71 included a siege of Paris which took years to overcome. Art overpowers the historical period facts so art lovers may review the book better.

[Andy Klein · Rating 3 out of 5]

A little to too little of political and impressionist history in 19th century France. I expect that the book would have been better if it was twice or half as long. The best part of the book was its exposure to me of Berthe Morisot. As a fan of Impressionism, I’m embarrassed to have never known of her. Shocking. Her work is beautiful. I can’t wait to see some in person.

[Paul Spence · Rating 4 out of 5]

An often overlooked section of history and its link to the birth of Impressionism is the subject of Sebastian Smee’s readable and impeccably researched book. Paris In Ruins: Love, War, and the Birth of Impressionism.

Picture Paris, 1870. Napoleon III had fallen and the capital was under siege from Prussian forces. Food shortages and harsh winter conditions meant the city’s residents had suffered greatly. Four months later, the siege ended when the Prussians entered the city. A brief, radical socialist government, the Paris Commune, took over. Violence and demands for social reforms eventually climaxed in the ‘Bloody Week’ of May 1871.

Against the backdrop of the siege, Impressionism was beginning to form. Edouard Manet is Smee’s focus, although there are guest appearances from Degas, Monet and Pissaro. Perhaps Smee’s most outstanding achievement is the elevation of Berthe Morisot, a female painter who was central to the movement but too often dismissed.

Smee does well to flick between personal narratives, social and political history, and explanations of the intricate, innovative elements that became the movement’s backbone. His ultimate argument is that the turmoil of 1870 accelerated the Impressionist movement. This is an intriguing concept, but not convincing. The painters Smee discusses had already had a long history of battling the status quo.

This does little to diminish the book’s power. For any lover of art history, it’s a compelling read.

[Dave · Rating 4 out of 5]

Berthe Marisot had had enough.

Suffering through the siege of Paris by the Germans, and then a bloody internal rebellion in the streets, she had been unable to paint, lost weight, battled sickness, wondered if she would end up alone.

Now in a letter to his sister, she made a declaration: “Work is the sole purpose of my existence.”

Not modeling, as she had reluctantly done for Manet in “The Balcony.” CREATING art; art that exposed the fragility of light and of life itself; art that should have put her front and center in the Impressionist movement, writer Sebastian Smee maintains.

Smee juggled through the lives of the Monisats and Manets and Degas to get there. The book also took on the surrounding political and economic collapses to get to the new way of thinking. (Yes, rat markets opened up in besieged Paris—and the chunkier rodents cost extra.)

Smee has won a Pulitzer for his art commentary; he handles 19th century French politics, letters and warfare with aplomb as well.

In this book, I was glad to meet Berthe Morisot and grateful that Smee has assisted in the effort to raise her profile. She was the “one real Impressionist” in an 1877 exhibition by the group, wrote critic Paul Mantz at the time. “Her painting has all the frankness of improvisation,” he wrote.

[Jane · Rating 4 out of 5]

I thoroughly enjoyed this book about the "Terrible Year" in Paris and its relationship to the Impressionist painters who were just beginning to show their works. A lot happened in Paris from 1870-1871 and there are a lot of players. Paris and its people were besieged, starved and forced into surrender and then suffered again as various factions struggled to gain power and govern resulting in bloody street battles and the burning of central Paris. As Smee is guiding the reader through these events, he is also telling us about some of the great figures of Impressionism and what these days were like for them: Manet, Morisot and Degas as well as Renoir, Bazille, Monet and Pissaro. I particularly enjoyed learning a lot more about Berthe Morisot, her life, painting and her critical role as one of the early Impressionists. There is a lot of suffering and loss but Smee emphasizes that Morisot seemed to have grasped in her work, more than her colleagues "that life's one dependable fact--that everything that is beautiful and all that we love and care about will perish." Smee adds Freud's belief that "mourning is inevitable...but once the mourning is over, it will be found that our high opinion of the riches of civilization has lost nothing from our discovery of their fragility."

[Nic Calvin · Rating 5 out of 5]

A phenomenal book, written with absolute mastery of the subject. A very dark period in French history, but told focusing on the lives of arguably the two most influential and talented Impressionist painters, Berthe Morisot and Édouard Manet. I truly enjoyed reading Smee’s work and learned a great deal about not just the 1870 Franco-Prussian War, but the impact it had on the lives of the artists, politicians, literary masters, and civilians on late 19th Century Paris. The main compliment I can give this book, compared to the countless others I’ve read on these topics, is that I am truly sad to finish it. The lives of these artists were truly fascinating and if interested in Impressionist art, this is a must read to truly appreciate what we see in museums worldwide.

[Becky Thomas · Rating 4 out of 5]

3.5 stars. I appreciated learning about the connection between the events of 1870 and 1871 and Impressionism. I did not know about the “Terrible Year” as it was called by Victor Hugo and found the book very informative. I did have to reread some sections several times-it was difficult to keep up with the names, places and events. But it was fascinating to read about what the artists were doing during this time and how the events in Paris affected their lives and work. I especially enjoyed the sections about Berthe Morisot. I recently read a historical fiction book about Mary Cassatt and Degas in which Morisot had a smaller role, so it was nice to read more about her and her art. Overall, I enjoyed the book but found I had to really work through some sections to make it through to the end.

[Stephanie · Rating 3 out of 5]

I expected this to focus more on art than war, but what can you do when it's about art history in the 1800s?

Nonetheless, this was a really interesting look at the effects of war and politics on an art movement. I've liked the impressionist paintings, but getting a closer look at the intertwined histories of Manet, Morrisot, Monet, the other impressionists, Hugo with the Franco-Prussian war and the following French political instability was really interesting.

Politics and art have always been intertwined, and Smee does a great job at laying out the effects of french politics on the impressionist era. Elfer was also a great narrator and kept me likely more engaged than I would have been if I had been reading this.

[Stella Rumsey · Rating 5 out of 5]

Read this for book club recently. Very well written history of the siege of Paris and the artists who were living there, the origins of French Impressionism and in particular Berthe Morisot. It jumped between subjects a little heavily at first but all came together in section four. I skipped section three (Communards) because I feared it might be too violent.
This book was perfectly timed with the French impressionists exhibition at the NGV Melbourne and complemented it well.
My favourite part was the description of the hot air balloons and communication between the besieged Parisians and the rest of France.

[MDT · Rating 5 out of 5]

For anyone who is interested in art, is an artist themselves, or wants to understand more about the history of France during the 19th century - this book is for you. Although non-fiction is not a category I usually read, this book provided an engaging academic overview of the events during the Franco-Prussian war which in turn led up to The Terrible Year - a time where Paris endured a gruesome civil war between the leftist Communards and the right wing conservatives, the Versaillais. The interior lives of the artists (primarily Manet and Morisot, and their families) provided a good balance to the historical details of wars and government unrest. While I had some previous knowledge of these events, this book provided vastly more detail with a very insightful angle of how the events of these wars affected the Impressionist painters of the 1860s - 1890s. The story of art centers on the lives of Edouard Manet and his protege/colleague and intimate friend Berthe Morisot, who ultimately became one of the most celebrated of the Impressionist painters of the time. As an artist, it provided me with such great insights into the internal life of these painters and what led them to paint the way they did. Berthe Morisot was her own woman (ahead of her time) with a clear purpose to become a serious, recognized artist - not so easy for a woman to pursue art on her own at that time in history. I really admire her, and understand her work and Manet's so much more after reading this wonderful book.

[Patrick Kornegay, Jr. · Rating 5 out of 5]

Fantastic read. Really helps to draw the connection between the origins of Impressionism in France and republicanism following the French disaster at the hands of Prussia following the Franco-Prussian War! This was an interesting read after visiting the accompanying article exhibition at the National Gallery of Art in Washington, D.C. I’ll now have a deeper appreciation for Impressionist-era art at any art museum I peruse now 🖼️🇫🇷

[Matt · Rating 4 out of 5]

A fantastic, whirlwind history of the “Terrible Year” of 1870-1871 in Paris, almost begs a Stefon from SNL review:

“Paris in Ruins has everything: Prussian generals, hot air balloons, Impressionist artists serving as front line soldiers, executed elephants, Victor Hugo, counter-revolutionary atrocities, and more!”