Claude Monet loved his garden and made about 250 paintings of water lilies. He and his Impressionist contemporaries were focused on color, light, and how our eyes perceive the world, but I would say technology was also central to the development. In his paintings of the train station, The Gare Saint Lazare, Monet gives us a glimpse of iron and glass station filled with the smoke of the steam engines. One critic wrote, “Unfortunately thick smoke escaping from the canvas prevented our seeing the six paintings dedicated to this study.” While the Impressionists were overtly apolitical, there is always a statement made by what is shown and what is not shown. Even if the artist himself or herself strives to be objective simply holding a mirror to their world, which way they aim that mirror matters. Monet shows the steam engine in its element as the subject of the work not merely something in the background. Technology of course drives change in our world. In the middle of the 19th century, painters suddenly had to compete with the camera. As photographs could quickly and easily capture the lines, shapes and proportions of a subject, painters shifted their focus to the color, an element cameras could not capture at that time. The tube of paint and numerous synthetic pigments also came about in the 19th century giving artists easy access to a wider range of colors. As I look at Monet’s use of so many colors, the pinks and blues of the cloud rising from the steam engine, I think of the critics the defenders of the status quo feeling threatened by change. They feel overwhelmed by the subject and begin to choke at the sight of roaring engines filling the space with smoke and they want to look away. They want the grand facades buildings and well-dressed elites walking city streets, not the workers and machines that powered the advancements. Monet though was unwavering. He meticulously studied his subjects at different times and in different seasons to find the beauty of even the smoke and engines in the industrial space. While the critics wanted grand visions of mythology, Monet showed what he and countless others experienced in the real world.

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