Developed in collaboration between MFA Boston and NGS, Into the Modern presents a selection of over 100 Impressionist works from MFA Boston’s (clearly impressive) permanent collection. In NGS’ ten-year history, this is the second time we have the privilege to view French Impressionist works on such a large scale in Singapore. This blog Wording Art has also turned 10 (!!!), and I have loved sharing about Impressionism throughout the years, and so it’s super timely to end the year with nineteenth-century French Impressionism.

Nature and the Impressionists

Into the Modern begins — perhaps a little surprisingly — with the Barbizon School of painters, before Impressionism was fully formed. Located about 60km outside Paris, artists gathered in the village of Barbizon and painted in the nearby Forest of Fontainebleau. Artists like Théodore Rousseau embraced these scenic landscapes untouched by modern developments. I have a soft spot for Rousseau’s paintings of nature, so it was wonderful to see Pool in the Forest. The Barbizon artists painted nature in a Realist style, and influenced the next generation of painters to radically approach nature through Impressionism.

1874: The First Impressionist Exhibition

The reproductions of two prints and a photograph (most right) on this gallery wall offer a look into the annual Salons held in the Palais de l’Industrie from 1855 onwards (where it was previously held in the Louvre). Artists could submit whatever artworks they wanted to the prestigious Salon, but only those that met the academic criteria of the time would be accepted.

It’s probably not surprising that the Impressionist style of loose, rapid painting especially en plein air (in the outdoors) did not fit what the Salon wanted. A group of Impressionist painters gathered together to form the Société anonyme des artistes peintres, sculpteurs, graveurs, etc (Anonymous Society of Painters, Sculptors, Engravers, etc.). They staged their first Impressionist exhibition in 1874, independent of the Salon, which later came to be a landmark moment for the Impressionists.

Very interestingly, Renoir and Monet painted the same ‘models’ in the portraits above: Monet’s first wife Camille, and their son Jean. Monet made many paintings with Camille and Jean set within lush gardens or fields. In Renoir’s take, Camille looks directly to the viewer (although I find her face not well-portrayed), while the toddler happily wanders off.

I just realised that a reproduced version of Meadow with Poplars was shown at Impressions of Monet at Gardens by the Bay last year! Now we get to see the real thing!

I particularly loved this stretch of four paintings by Renoir, Monet and Cézanne, showing how they depicted people within landscapes.

Waterscapes and Landscapes

This landscape painting looks very much like a Renoir, but reminded me of Cézanne somehow… Turns out Renoir visited Cézanne in the village of L’Estaque in 1882, which Cézanne regularly visited and painted since the 1860s. Together, the two artists painted the same view of the mountainous terrain.

I really like Renoir’s painting of The Seine at Chatou, which was known as a boating spot in the Parisian suburbs. Particularly, I love the details of the girl’s red hat and flowers, and the small boats in the distance.

A Little Post-Impressionism

It’s also a treat to see more of Cézanne’s works. While he shared the Impressionists’ penchant for painting nature, his compositions look quite different as Cézanne began exploring his own painterly style (flatter and with a kind of slanted perspective). Retrospectively then, he’s better known as a Post-Impressionist.

Camille Pissarro’s career was probably the most varied among the Impressionists. His early influences came from the Barbizon School of painters, later becoming the ‘father of Impressionism’. He helped to establish the Société anonyme des artistes peintres, sculpteurs, graveurs, etc, and acted as a mentor and father figure to key Impressionist figures.

The two paintings pictured here marks Pissarro’s late period when he explored Pointillism. After meeting the Neo-Impressionist artists Georges Seurat (not included in this exhibition) and Paul Signac (included in this exhibition but not pictured in this post), Pissarro experimented with the technique of placing dots of complementary colours next to each other. Seurat is best known for the Pointillist technique, which is actually so painstaking! Pissarro brought his own take on Pointillism in these scenes of ideal rural life and labour.

City Life and Paris

At this point, we reach the final Gallery 3 of Into the Modern at National Gallery Singapore. Out of the countryside and into the city! This is my favourite section of the exhibition, as we shall see…

Perhaps the ultimate ‘painter of modern life’, to borrow Charles Baudelaire’s words, was Édouard Manet. Although he did not exhibit in the Impressionist Exhibitions, he did his fair share of challenging the artistic status quo. In 1865, he exhibited his scandalous painting Olympia (which somehow managed to get accepted!) at the Salon. The stark image of a nude figure who confronts the viewer in Olympia was modelled by Manet’s favourite model, Victorine Meurent. The exhibition includes a print etching of Olympia. Meurent also appears in Street Singer below.

It’s so interesting to compare a self-portrait with a portrait of the same person… Manet’s portrait of Victorine Meurent and Meurent’s Self-Portrait were painted over a decade apart, and they certainly present different views of the model and artist. In Meurent’s Self-Portrait I find it intriguing how she is almost fully turned to the side, and she appears quite fierce or confrontational here.

Renoir’s Highlight Piece

A highlight of Into the Modern is definitely Renoir’s Dance at Bougival! I can’t believe we get the chance to see this in Singapore, as it supposedly rarely leaves Boston on loan. This is probably the best work by Renoir in my opinion. A couple dances in a café in Bougival, a popular recreation town along the Seine outside Paris. Dancing outdoors in a public setting — isn’t that so modern?

Degas and Cassatt

I was drawn to Degas’ painting because it depicts the ‘simple’ experience of a Visit to a Museum. It’s also the perfect sisterly activity to do, as Degas paints fellow Impressionist artist Mary Cassatt and her sister, Lydia, in the Louvre. Degas and Cassatt were close colleagues and friends, and it’s nice to see artists painting each other in this manner.

Hailing from America, it is a shame though that Cassatt’s works in the MFA Boston collection don’t feature in this exhibition. Mary Cassatt played a huge part not only in contributing to the Impressionists’ output, but she also advised American patrons to buy Impressionist works, especially the Havemeyer family. The original Havemeyer art collection now largely resides in the Metropolitan Museum of Art, as well as in the Shelburne Museum, which you can read more about here.

In the lecture hosted in conjunction with this exhibition, the eminent art historian Griselda Pollock spoke about Mary Cassatt and how she was a key player among the Impressionists. As Pollock puts it, the Impressionists were the first egalitarian artist group where women could play equal roles as men. I also got to ask Prof. Pollock a question about Degas and Cassatt in relation to Visit to a Museum — which will remain as one of the best moments of my life! As anyone who works on women artists would know, Pollock’s work is highly influential in the field, so I couldn’t pass up the opportunity to ask her a question about Cassatt and her appearance in Degas’ painting. :)

Still Life

I really liked seeing this section of the gallery focusing on the Impressionists’ work on still life (paintings of still, inanimate objects). I feel that the individuality and uniqueness of each of the Impressionists’ painting styles come through really well in these still lifes. Also, can you spot Renoir’s signature in the lower right of Mixed Flowers in an Earthenware Pot?

Cézanne’s paintings of fruit in his still life paintings would be the most well-known among them all. Even now, he still astonishes us with an apple…

Immersed in Monet

The exhibition ends with a roomful of Monet’s paintings. How amazing is that! I also love the look of the curved walls in this room (as you can see in the cover picture), as it reminds me of the display of Monet’s Water Lilies at Musée de l’Orangerie (my dream to visit one day!)…

Poppy Field in a Hollow near Giverny is one of my favourites in this selection. Many of these works were created after Monet settled in Giverny in 1883 for the rest of his life.

Of course, don’t miss The Water Lily Pond! This is one in a series where Monet painted a view of the water lily pond in his Giverny gardens, featuring his Japanese-style green bridge — perhaps coloured a little differently in the sunlight in this painting.

I love the delicate pinks and blues that Monet captures in his paintings of Antibes. Antibes Seen from the Plateau Notre-Dame is displayed earlier in the exhibition, as you can see above in this post. I also especially love the detail of the tiny sailboats in Cap d’Antibes, Mistral. I need to see it again — it’s another of my favourites.

When travelling in Antibes, Monet wrote to Alice Hoschedé (who later became Monet’s second wife) in January 1888: ‘I am painting the town of Antibes, a little fortified town all golden in the sun that stands out against beautiful blue and pink mountains and the eternally snow-capped range of the Alps.’ I think Monet perfectly captured the pastel beauty of Antibes as he described.

Be sure to visit Into the Modern at National Gallery Singapore to see all of these beautiful Impressionist works and more! The exhibition is ongoing until 1 March 2026.

A special promotion is also ongoing, where you can get 25% off the exhibition ticket until 1 February 2026. Additionally, present your exhibition tickets to get 10% off Pierre Hermé macarons at the pop-up at Padang Atrium, Level 1, until 31 December 2025. My sister bought those Pierre Hermé macarons, and they’re sooo good!

Overall, I thought Into the Modern was an excellent exhibition. It’s wonderful to see so many people queuing (!) to see it. If you have seen the show, let me know what you think by rating it below!

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So you can most probably tell how excited I was to see it, and what made it even better was that I got to see a preview of it before it opened, and I could take all the photos I wanted without the swarms of people that I’m sure the Gallery is seeing right now.

With a popular theme like Impressionism (although what could beat Yayoi Kusama’s polka dotted works in popularity?), I feel like this exhibition is easily appealable to many people, though I have a few misgivings about the way the artworks were grouped by… colour.

| Cover Picture: Claude Monet, Champs de tulipes en Hollande (Tulip Field in Holland), 1886, oil on canvas |

Gustave Courbet, Branche de pommier en fleurs (Apple Branch in Flower), 1872, oil on canvas

James Tissot, La Rêveuse (The Dreamer), c. 1876, oil on wood

I guess the title of this exhibition pretty much gives it away, since it is simply named Colours of Impressionism. Along with Between Worlds, comprising works by Indonesian artist Raden Saleh and Filipino artist Juan Luna, the two exhibitions are combined under the title of Century of Light, which would be running until 11 March 2018. Just a note: This post only covers Colours of Impressionism.

Eugène Boudin, La Plage de Trouville (The Beach at Trouville), 1865, oil on board

The exhibition opens with paintings featuring a lot of black, before moving on to whites, mainly in snowy landscapes. I gripe about curating according to colour because it seems to simplify all of the artworks into “looking pretty”. While there isn’t any problem with appreciating artworks purely for their aesthetic, it’s sad if the stories and changes surrounding Impressionism itself is overlooked along the way.

Impressionism, as exemplified by name-stays Monet and Renoir, was part of the beginnings of what was considered Modern in art. Starting from subject matter, these artists started painting their surroundings like the serene landscapes that is heavily featured in this exhibition, and scenes of middle-class people who were starting to spend more time out and about, such as in Boudin’s La Plage de Trouville shown above.

Claude Monet, Argenteuil, 1872, oil on canvas

Triptyque May (The May Triptych): Camille Pissarro, Entrée du village de Voisins (Entry to the village of Voisins), 1872, oil on canvas; Claude Monet, Bateaux de plaisance (Pleasure Boats), 1872-73, oil on canvas; Alfred Sisley, L’Île Saint-Denis (Saint-Denis Island), 1872, oil on canvas

I love how these three paintings are put together, which I’m assuming was purposely done so for this exhibition?

To capture these scenes of the outdoors as best as they could, Impressionists went out to paint en plein air (translated literally in the outdoors), which at the time was a very new approach to painting. Artists often prepared studies of artworks they were going to create, so painting was very much centred within the artist’s studio. Impressionists began to break the mold by going outdoors to paint what they saw best represented their times and their society.

Alfred Sisley, La Barque pendant l’inondation, Port-Marly (Boat in the Flood at Port-Marly), 1876, oil on canvas

Berthe Morisot, Le Berceau (The Cradle), 1872, oil on canvas

Morisot, one of probably two female artists active at the time, is famous for her paintings of mothers with children. This painting is very famous and I remember my professor pointing out the clever layering of white on white with the veil. I was super excited to finally see a painting that I learnt about in class in real life, though there are others later in this post (and in the exhibition) that were even better experiences for me.

Paul Gauguin, La Seine au pont d’léna. Temps de neige (The Seine at Pont d’léna, Snowy Weather), 1875, oil on canvas

An early work of Gauguin’s, who was best known for his “exotic”, “primitive” artworks that he did on trips to Tahiti. While those works are entirely different from these Impressionist works, this one fits in with the rest of the white, snowy images.

Claude Monet, La Pie (The Magpie), 1868-69, oil on canvas

Alfred Sisley, La Neige à Louveciennes (Snow at Louveciennes), 1878, oil on canvas

Renoir’s paint box and Degas’s palettes

Claude Monet, Les Barques. Régates à Argenteuil (The Boats: Regattas at Argenteuil), c. 1874, oil on canvas

Moving on to the next gallery, and the next colour scheme of darker tones, which is pretty evident in all the paintings grouped together here.

Claude Monet, Un Coin d’appartement (A Corner of the Apartment), 1875, oil on canvas

One of my absolute favourites in this exhibition! This has to be seen in real life – the colours really pop, and the effect of the angled floor tiles doesn’t get captured well enough in a photo.

The boy in the centre of the painting is Jean Monet, Claude Monet’s son, and at the back of the space is Camille Doncieux, Monet’s first wife and Jean’s mother. I wrote an essay on Monet’s paintings of his family about two years back, and this painting came up during my research. Most of Monet’s paintings of his family involved Camille and Jean, not so much for his family after he married his second wife Alice Hoschedé after Camille’s death. A lot of the time, Camille and Jean are seen from a distance, positioned at the recesses of the space of the painting, and surrounded by plants and flowers which was clearly a passion of Monet’s.

Some people/scholars argued that Monet used his family as props for paintings that were chiefly about plants and flowers. I also read one argument that said that Camille and Jean were often portrayed as expressionless because they were tired of modelling and waiting for Monet to be done painting them. Plausible?

While I can’t say it’s entirely out of question, I disagree on the perceived apathy on Monet’s part. My official reasoning is that the association of Monet’s beloved plants and flowers with the careful placement and posing of his family within it would have meant at least some affection on his part.

The unofficial reasoning is that Monet painted scenes of nature without human figures within them perfectly fine – see: all of his Giverny works, including one below, although these were done in his later mature years – and another reason being that his paintings of the Hoschedés were frankly not as good.

Gustave Caillebotte, Voiliers à Argenteuil (Sailboats in Argenteuil), c. 1888, oil on canvas

Paul Cézanne, Cour d’une ferme (Courtyard of a Farm), c. 1879, oil on canvas

Paul Cézanne, Le Golfe de Marseille vu de L’Estaque (The Gulf of Marseilles Seen from L’Estaque), 1878-79, oil on canvas

I loved seeing Cézanne here as well and I realized how much more striking his paintings are in real life. Although he was a fellow contemporary alongside the Impressionists, his works are today considered part of Post-Impressionism as he had already began looking further ahead of the Impressionists in terms of composition, shapes and so on. I definitely want to see more of Cézanne in future!

Auguste Renoir, Pont du chemin de fer à Chatou (Railway Bridge at Chatou), 1881, oil on canvas

Claude Monet, Le Bassin aux nymphéas, harmonie rose (Water Lily Pond, Pink Harmony), 1900, oil on canvas

The all-important Giverny painting of this exhibition. Monet lived in Giverny in the later years of his life, and his famous garden is still maintained and open to visitors!

Paul Signac, La Bouée rouge (The Red Buoy), 1895, oil on canvas

The next section was dedicated to Pointillist works, also considered part of Post-Impressionism. Based on colour theories of the time, Seurat invented this method of painting by having dots of complementary colour placed next to each other, and when extended across the entire canvas, would supposedly blend together in the viewer’s eye and achieve greater luminosity.

Georges Seurat, Etude pour “Une Baignade à Asnières” (Study for “Bathers at Asnières”), 1883, oil on wood; Etude pour “Un Dimanche à la Grande Jatte” (Study for “A Sunday on La Grande Jatte”), 1884 and 1884-86, oil on wood

I was quite surprised to see that the Pointillist works included in the exhibition weren’t as good as I expected them to be in real life! The dots in Signac’s painting above felt too separated to me, which took away from the scene that he was trying to depict. Though this makes me more curious to see how Seurat’s works appear in real life, since he was after all the inventor of Pointillism and his dots/points appear much subtler even in digital images.

Paul Cézanne, Rochers près des grottes au-dessus du Château-Noir (Rocks Near the Cave above Château Noir), c. 1904, oil on canvas

Claude Monet, La Cathédrale de Rouen. Le portail et la tour Saint-Romain, plein soleil (Rouen Cathedral: The Portal and Saint-Romain Tower, Full Sunlight), 1893, oil on canvas

I’m constantly surprised by the difference between looking at digital images of paintings and seeing them in real life. Sometimes, like with Morisot’s The Cradle, it still feels familiar, meaning that digital images captures it well, but in other cases, like with Cézanne, the Pointillist works, and this one painting in Monet’s Rouen Cathedral series, a photograph of the painting is incomparable to how it is in real life. Some things just have to be seen for yourself. And re-seen!

Berthe Morisot, L’Hortensia (The Hydrangea), 1894, oil on canvas

Claude Monet, Vétheuil, soleil couchant (Vétheuil, Setting Sun), c. 1900, oil on canvas

I like the pastel colours of this painting, but I don’t think it’s that good a painting of Monet’s. If this exhibition is all about colour, then I’ll say that I don’t think colour best determines the effectiveness or quality of a painting.

Going back to the question of curating by colour: While the art world brings up a lot of talk about having more experimental methods of curating, and displacing chronological ways of presenting artworks, is curating artworks according to colour really such a good idea? Whatever overall theme that paintings within an exhibition might be fitted into, I personally think it’s important that I can understand how each exhibit fit within its time and colour doesn’t contribute much to that.

But one thing I really liked about the exhibition was the colours of the walls! That might sound pretty funny, but making an exhibition also involves deciding what colour walls would best display the paintings on show.

Loved the blue walls for Between Worlds!

Colours of Impressionism is showing at National Gallery Singapore until 11 March 2018, ticket prices and more information can be found here.

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Vision Tunnels is the name of the installation designed by Hong Kong architect Rocco Yim. Within its three “tunnels” are a selection of artworks loaned by galleries, most of which are conveniently located in Central. These artworks are hung up in the tunnels, and you have to look up to see them.

Salvador Dalí, L’oeil fleuri, 1944, Opera Gallery

The first artwork I encountered was Dalí’s. I found it strange yet fascinating; I just absolutely love this Surrealist work! The amount of detail is also notable, like the flowered eyelashes, the scratchy orange color on the stone eye, the contrasting texture between the eye and bricks – so brilliant to me.

Eric Baudart, Concave – Cuivre, 2015, Edouard Malingue Gallery

Pierre-Auguste Renoir, Portrait of Pierre Renoir a la Capeline, 1886, Opera Gallery

This is the second time I’ve seen Renoir, the first time at Singapore Pinacothèque de Paris. It’s in his signature light, fluffy style, and the painting comes with a gorgeous gold gilt frame. But I think that Renoir’s small portraits look too lightweight. Naturally, his renowned works seem to look much better, at least in digital images. I’ll like to view them for myself in real life one day and see if I might think differently.

Huang Rui, Dance of I Qing – Yao (1-32), 2015 (left), Dance of I Qing – Yao (33-64), 2015, 10 Chancery Lane Gallery

Tseng Kwong Chi, Hollywood Hills, California, 1979, Ben Brown Fine Arts

Coincidentally, I’d just seen this photograph in an art magazine a little while before I saw it in real life! Always feels good to encounter an artwork you’ve only seen as an image before.

Sir Peter Paul Rubens, Hercules and Omphale, early 1620s, Christie’s

I used to be pretty interested in Greek mythology when I was a kid, with their host of gods and goddesses and their classic stories. I didn’t realize how broad Greek mythology was (and how little I knew of it) until I started probing around the gazillions of Greek myths depicted in many European paintings of earlier centuries. I’ve no clue what’s going on in this painting, and I don’t know who Omphale is, though I’d heard of Hercules (thanks, Disney)… So a bit of research it is.

This mythological story is about the Greek god Hercules who had to atone for the murder of a friend, and does so by being lowered from his godly status and becoming a slave of Omphale, the queen of Lydia, an ancient kingdom located somewhere in present-day Turkey. Hercules was forced to do the bidding of Omphale, and he was involved in women’s work like spinning yarn/wool and would also wear women’s clothing. Omphale is often depicted wearing Hercules’s lion skin, while Hercules often holds a distaff or spindle, representing his work. While the story is originally about Hercules’s humiliating punishment, Renaissance and Baroque art took it as a representation of woman’s dominion over men. I assume that’s what Sir Peter Paul Rubens was also going for as he was a Flemish Baroque painter. In this painting, Omphale is the woman in red pulling on Hercules’s ear, who is surrounded by who I presume are Omphale’s maidens.

I’d happened to visit Vision Tunnels while there was a children’s painting workshop going on, and they were either painting after individual artworks or painting the Vision Tunnels. I found one young boy’s painting after Renoir so impressive I had to take a shot!

I really like the idea of viewing art within a mall, but I had one problem with this year’s installation. Most of the artworks were located within the Vision Tunnels, so I had to crane my neck to see them and it didn’t make for the best viewing experience. Reuben’s and Dalí’s paintings were best positioned at the ends of the tunnels and I could view them from a comfortable distance. I’d prefer it if all the artworks could be easily viewed without obstruction. It is interesting though how all the artworks are suspended from the ceiling without occupying any floor space and potentially disrupting shoppers! Probably only in Hong Kong would space be utilized so fully.

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Update: Singapore Pinacothèque de Paris closed in April 2016. The main branch in Paris has also closed in February 2016.

From the name, it’s telling that the first Pinacothèque de Paris is located in well, Paris, and their second branch opened in Singapore at the end of May. The museum is divided into 3 galleries: The Collections Gallery, The Features Gallery, and the Heritage Gallery.

The Collections Gallery contains a permanent collection of 40 Western and Southeast Asian artworks, ranging from 17th century European paintings to modern and contemporary works by artists including Pablo Picasso, Jackson Pollock and Lucio Fontana. The Features Gallery holds themed exhibitions, its first being The Myth of Cleopatra. The Heritage Gallery contains artefacts from Southeast Asian cultures that are pertinent to Singapore, and is the only gallery with free admission.

I visited The Collections Gallery and Heritage Gallery, but decided to skip the Cleopatra exhibition due to the pretty steep price! I was really interested in checking out The Collections Gallery because of its promises of Western art and its curatorial approach of “transversality.” Head curator Marc Restellini’s focus was on combining Western and Southeast Asian artworks in the same space, crossing over cultures, time periods and mediums. I really like that idea and it’s not something you often see in most art places, so I was looking forward to what the museum had to offer.

Before going more into that, first off: the fantastic interaction panels! After buying the tickets at the fancy counter with changing graphics, you walk down the long corridors and reach these touch-screen panels with a cute talking chameleon or whatever it is.  (It actually waves and goes “Hello!” when no one’s playing with it.)

It’s a long screen but you can actually stand at one spot and slide through the various artworks the green chameleon wants to talk about. Press the key icon when you want to hear more about an artwork! The green guy does talk for quite a bit, but if you’ve got the patience to hear him out, there is a lot of helpful background information and images. This is really the best interactive section I’ve seen at an art museum – fun and informative!

Claude Monet, Suzanne with Sunflowers (on view in Collections Gallery) and Water Lilies series (not on view)

I was lucky to have the whole space to myself long enough to go through all the artworks included in the interaction section. They’re taken from The Collections and The Features galleries, and I forgot how many exactly were included, but it’s probably about 10 or more.

Despite the long panel catered to allow multiple people to interact with the chameleon, I thought it best to listen while on my own. It was harder to hear what he was saying when someone else was playing his speeches, even when we were standing at opposite ends of the screen.

Jackson Pollock, Composition with cubic form (on view in Collections Gallery)

My favorite was the explanation of Modigliani’s Young Lady with Earrings that was both fun and cute, and which also well demonstrated the theme of transversality by addressing the connection to African masks in Modigliani’s painting.

Amedeo Modigliani, Young Lady with Earrings (on view in Collections Gallery)

Moving on to the Collections Gallery! The Western artworks mostly consisted of paintings, many of which were from the 17th century. Otherwise, they were from the modern and contemporary era. Southeast Asian pieces were mostly sculptures. I have to say that my bias lies in Western artworks! ;)

Note: Photography is allowed in the galleries but the modern and contemporary artworks are not allowed for photo taking. There’s a no photography indication on the wall beside these artworks.

Amedeo Modigliani, Young Lady with Earrings, 1915, oil on canvas

I was expecting this to look very flat, but it looks so much better when you see it for yourself! There are many layers to the flesh tones, and the lady’s hair is very textured in the center.

This mask was placed beside Modigliani’s Young Lady with Earrings, and I felt this was the best example of the theme of transversality in the collection. I didn’t get a good shot of the didactic, so I don’t know the details of this piece, my bad!

Antony Van Dyck, Portrait of a Gentleman, 1619/1620, oil on canvas

The gentleman’s facial features are so well painted. The rest of the background and landscape are instead sketchily painted, hehe!

Rembrandt Harmensz. van Rijin, The Beheading of Saint John the Baptist, 1640, copperplate

You wouldn’t expect that the copperplate is really small, with the amount of detail in this biblical scene. With the number of portraits in the collection though, it would have been great to see one of Rembrandt’s famous portraiture works! ;)

Pierre-Auguste Renoir, Portrait of Georgette-Marie Malivernet, 1896, oil on canvas

I think of Renoir as a popular Impressionist artist, with his idyllic images of pretty people in fashionable clothing. I like to compare him to a modern-day person who relies on Instagram filters for pretty photos, haha! Beautiful images, but not much beyond the surface.

Gerbrand van den Eeckhout, Portrait of Maria Dircksdr Bogaert, 1670, oil on canvas

Now, this portrait I absolutely love! The portrait seems to glow from within, and the detailing of the lady’s curls and the lace of her gown is exquisite.

Claude Monet, Suzanne with Sunflowers, 1890, oil on canvas

This painting is huge, much larger than I was expecting. It’s even bigger than lifesize! It’s not my favorite of Monet’s… but I don’t think it was his favorite, either. Monet didn’t do many figure paintings, preferring to paint scenes of nature and water. His best figure paintings and portraits were those that his first wife, Camille Doncieux, modeled for. After her early death, Monet painted a few more figure paintings with his second wife, Alice Hoschedé, and stepdaughter, Suzanne Hoschedé, as models. In my opinion, Monet didn’t put much heart into his later figure paintings, especially since they lack the overall oomph of his paintings of Camille.

The effect doesn’t come out well in the photos, but the sunflowers seem to be the main focus of the painting despite the fact that Suzanne clearly occupies most of the painting. Suzanne however looks washed out and fades into the background, while the yellow of the sunflowers makes them pop. The sunflowers are also too long and extended, relative to the figure and the table, and their deliberate positioning around Suzanne’s head seems to bring home the idea that the sunflowers are so much nicer to look at than Suzanne herself. Ouch, right?

Gregorius Oosterlinck, A Tavern Interior with Soldiers Merrymaking Around a Table, 1637, oil on canvas

Generally, I was happy with what I saw with the Western artworks. In a small collection, it is impressive that there were a few big names included in the selection. I of course would have loved to see more, but I think I have to leave those expectations for an art trip to Europe, haha!

The Southeast Asian pieces were pretty limiting though. There wasn’t much variation with most of them seeming to belong to the ancient tribal art category, and I think there could be a lot more said about Southeast Asian art.

Overall, the theme of transversality was not well conveyed. There were way more Western pieces than Asian pieces for one, so the Western pieces were well distributed around the gallery, while the Asian pieces were scattered here and there. The crossing over time periods also wasn’t well conveyed, since I felt many of the artworks were from European 17th century painters, and the subject matter of the artworks did not differ much from the others. In that way, the connections between supposedly vastly different artworks weren’t well illustrated.

The gallery was also too dark for my taste. Spotlights shine directly onto the artworks, making them very well-lit, but the effect on photos is not great.

I don’t think the museum is well worth the high price, but I will say pay a visit if you’re keen on getting a taste of viewing Western artworks!

Singapore Pinacothèque de Paris is located at Fort Canning Arts Centre, 5 Cox Terrace.
Opening hours are as follows:
Sun – Thurs: 10 AM – 7:30 PM
Fri – Sat : 10 AM – 8:30 PM
Very important note: Last admission is 30 minutes before closing time! (I had to learn it the hard way.)
Find the ticketing info here.

View Singapore Pinacothèque de Paris’s website here.

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