{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Artists in exile: London landmarks through French eyes' data-url='/boclips/videos/5c54d662d8eafeecae2032e5' data-video-url='/boclips/videos/5c54d662d8eafeecae2032e5' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nArtists in exile: London landmarks through French eyes\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eLEADIN:              A new exhibit at Tate Britain gallery is showing famous London landmarks through French eyes.              'Impressionists in London, French Artists in Exile' charts the works of French artists who sought refuge in...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eLEADIN:\u003cbr/\u003e              A new exhibit at Tate Britain gallery is showing famous London landmarks through French eyes.\u003cbr/\u003e              'Impressionists in London, French Artists in Exile' charts the works of French artists who sought refuge in Britain during the Franco-Prussian War.\u003cbr/\u003e              STORYLINE:\u003cbr/\u003e              While one of London's most famous landmarks remains cloaked in scaffolding, a new exhibit at the British capital's Tate Britain gallery is exploring another moment in its history.\u003cbr/\u003e              'Impressionists in London, French Artists in Exile' charts the works of French artists who sought refuge in Britain during the Franco-Prussian War.\u003cbr/\u003e              It includes over 100 works by artists including Claude Monet, James Tissot and Camille Pissarro.\u003cbr/\u003e              \"In 1870 and 1871, there was a war called the Franco-Prussian War followed by the Paris Commune, which was effectively a civil war in Paris,\" explains the exhibit's curator Caroline Corbeau-Parsons.\u003cbr/\u003e              \"Most of the city was left in (rubble) and Monet and Pissarro came to London, Monet to avoid conscription and Pissarro because his house was turned into a stable by the occupying forces.\"\u003cbr/\u003e              The French artists painted examples of British culture and social life, notably different to Paris cafe culture.\u003cbr/\u003e              While walking on the grass was strictly prohibited in French gardens, the artists discovered people freely enjoying London parks, such as Kew Gardens.\u003cbr/\u003e              They also painted bunting-fringed regattas along the River Thames.\u003cbr/\u003e              \"The Pre-Raphaelite Brotherhood were more interested in depicting the beautiful sonnets and paragraphs from Shakespeare, for example. So, very beautiful, highly-finished images,\" explains art critic Estelle Lovatt.\u003cbr/\u003e              \"And then the impressionists came with their crash, bang, wallop sort of application, where it was very, very quick, before the scene in front of them changed.\u003cbr/\u003e              \"In Paris, they'd be concentrating on the nightclubs and the cafes and the clubs. \u003cbr/\u003e              \"And when they came here, they found actually that they just wanted to draw the beautiful architecture, like around Westminster and St. Paul's and Big Ben, but also the mist that surrounded that beauty, because they were interested in colour and how colour changed what they were looking at. \u003cbr/\u003e              \"And fogs went from pea green to dark violet in colour and they found that so beautiful.\"\u003cbr/\u003e              The largest section of the exhibit is dedicated to the artists' representations of the River Thames.\u003cbr/\u003e              It includes six paintings from Claude Monet's Houses of Parliament series.\u003cbr/\u003e              Monet used the towering building and its neighbouring river to experiment with fog's changing colour and delicate sunlight breaking through clouds down onto the river below.\u003cbr/\u003e              \"What Monet and Pissarro brought was a sort of a naturalist view of London,\" says Corbeau-Parsons.\u003cbr/\u003e              \"And Monet complained about Victorian artists and the fact they painted London brick by brick and he said; 'This is not possible.' \u003cbr/\u003e              \"And as early as 1870, he tried to paint the fog on the Thames and it was a real challenge for all artists, which is probably why the motif of the Houses of Parliament in the fog became such a central motif in French art.\u003cbr/\u003e              For three consecutive winters - 1899 to 1901 - Monet stayed at the Savoy Hotel and dedicated himself to his Thames series.\u003cbr/\u003e              But it was only in 1900 that he turned his attention to the Houses of Parliament, painting from a terrace in St. Thomas' Hospital.\u003cbr/\u003e              He worked on the canvases simultaneously in his studio until 1904, when they were eventually delivered to a Paris art gallery for exhibition.\u003cbr/\u003e              It became his most successful exhibition to date.\u003cbr/\u003e              \"What he found so inspiring about the fogs was that in his mind there were brown fogs, purple fogs, green fogs, fogs of all colours. \u003cbr/\u003e              \"And that's what he really tried to do in his House of Parliament series, he tried to show all these varied colours, but mostly, most importantly the sun being refracted through this fog.\"\u003cbr/\u003e              'The EY Exhibition: Impressionists in London, French Artists in Exile (1870-1904)' runs 2 November - 29 April 2018.\u003cbr/\u003e            \u003cbr/\u003e\u003cbr/\u003e              London, UK - 30 October 2017\u003cbr/\u003e              1. Low shot of Houses of Parliament and Elizabeth Tower (Big Ben) covered in scaffolding\u003cbr/\u003e              2. Tilt down of Elizabeth Tower (Big Ben) covered in scaffolding\u003cbr/\u003e              3. Wide of boats on River Thames\u003cbr/\u003e              4. Wide of Houses of Parliament\u003cbr/\u003e              5. Various of 'Houses of Parliament, Sunlight Effect' 1903 by Claude Monet, on display at Tate Britain gallery's new exhibit 'Impressionists in London, French Artists in Exile (1870-1904)'\u003cbr/\u003e              6. Wide of visitors looking at artworks\u003cbr/\u003e              7. Various of 'The Thames below Westminster' 1871 by Claude Monet\u003cbr/\u003e              8. Pan left of 'St. Paul's from the Surrey Side' 1871-3 by Charles-Francois Daubigny\u003cbr/\u003e              9. Various of 'London Visitors (originally Country Cousins)' 1873 by James Tissot\u003cbr/\u003e              10. Various of 'The Gallery of HMS Calcutta (Portsmouth)' 1876 by James Tissot\u003cbr/\u003e              11. Various set up shots of Caroline Corbeau-Parsons, Exhibit Curator, looking at 'Houses of Parliament, Sunlight Effect' \u003cbr/\u003e              12. Close pull focus of 'Houses of Parliament, Sunlight Effect' \u003cbr/\u003e              13. SOUNDBITE (English) Caroline Corbeau-Parsons, Exhibit Curator:\u003cbr/\u003e              \"In 1870 and 1871, there was a war called the Franco-Prussian War followed by the Paris Commune, which was effectively a civil war in Paris. Most of the city was left in (rubble) and Monet and Pissarro came to London, Monet to avoid conscription and Pissarro because his house was turned into a stable by the occupying forces.\"\u003cbr/\u003e              14. Various of 'The Place du Carrousel and Ruins of the Tuileries' 1883 by Siebe Johannes ten Cate\u003cbr/\u003e              15. Various of 'Sister of Charity Saving a Child, Episode in the Siege of Paris' 1870-1 by Gustave Dore\u003cbr/\u003e              16. Various of 'Piccadilly: Wintry Walk in London' 1875 by Giuseppe de Nittis \u003cbr/\u003e              17. Various of 'Westminster' 1878 by Giuseppe de Nittis \u003cbr/\u003e              18. SOUNDBITE (English) Estelle Lovatt, Art Critic:\u003cbr/\u003e              \"The Pre-Raphaelite Brotherhood were more interested in depicting the beautiful sonnets and paragraphs from Shakespeare, for example. So, very beautiful, highly-finished images. And then the impressionists came with their crash, bang, wallop sort of application, where it was very, very quick, before the scene in front of them changed.\"\u003cbr/\u003e              19. Various of 'Meditation (Madame Monet on the Sofa)' 1871 by Claude Monnet\u003cbr/\u003e              20. Various of 'Empress Eugenie and the Prince Imperial in the grounds of Camden Place, Chislehurst' 1874 by James Tissot\u003cbr/\u003e              21. Various of 'Hush!' 1874 by James Tissot\u003cbr/\u003e              22. Various of 'The National Gallery in London' 1877 by Giuseppe de Nittis \u003cbr/\u003e              23. SOUNDBITE (English) Estelle Lovatt, Art Critic:\u003cbr/\u003e              \"In Paris, they'd be concentrating on the nightclubs and the cafes and the clubs. And when they came here, they found actually that they just wanted to draw the beautiful architecture, like around Westminster and St Paul's and Big Ben, but also the mist that surrounded that beauty, because they were interested in colour and how colour changed what they were looking at. And fogs went from pea green to dark violet in colour and they found that so beautiful.\"\u003cbr/\u003e              24. Various of 'Hyde Park' 1871 by Claude Monet\u003cbr/\u003e              25. Various of 'Kew Gardens, Rhododendron Dell' 1892 by Camille Pissaro\u003cbr/\u003e              26. Various of 'Houses of Parliament, Sunlight Effect' 1903 by Claude Monet\u003cbr/\u003e              27. Various of 'Houses of Parliament' 1900-01 by Claude Monet\u003cbr/\u003e              28. Wide of visitor taking picture of 'Houses of Parliament, Sunlight Effect' \u003cbr/\u003e              29. SOUNDBITE (English) Caroline Corbeau-Parsons, Exhibit Curator:\u003cbr/\u003e              \"What Monet and Pissarro brought was a sort of a naturalist view of London and Monet complained about Victorian artists and the fact they painted London brick by brick and he said; 'This is not possible.' And as early as 1870, he tried to paint the fog on the Thames and it was a real challenge for all artists, which is probably why the motif of the Houses of Parliament in the fog became such a central motif in French art.\"\u003cbr/\u003e              30. Various of 'Houses of Parliament, Sunlight Effect' 1903 by Claude Monet\u003cbr/\u003e              31. Various of 'Houses of Parliament, Effect of Sunlight in the Fog' 1904 by Claude Monet\u003cbr/\u003e              32. Various of 'Houses of Parliament (Fog Effect)' 1903-4 by Claude Monet\u003cbr/\u003e              33. Various of 'Charing Cross Bridge' 1904 by Claude Monet\u003cbr/\u003e              34. SOUNDBITE (English) Caroline Corbeau-Parsons, Exhibit Curator:\u003cbr/\u003e              \"What he found so inspiring about the fogs was that in his mind there were brown fogs, purple fogs, green fogs, fogs of all colours. And that's what he really tried to do in his House of Parliament series, he tried to show all these varied colours, but mostly, most importantly the sun being refracted through this fog.\"\u003cbr/\u003e              35. Various of 'Bank Holiday, Kew' 1892 by Camille Pissarro \u003cbr/\u003e              36. Wide of Tate Britain gallery exterior\u003cbr/\u003e              37. Wide of boats on River Thames\u003cbr/\u003e              38. 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