Two art exhibitions in DC broaden our perspectives on their moments in history

Two seemingly unrelated art exhibitions opened just blocks apart in Washington, D.C., in September, each expanding perspectives in social and ecclesiastical narratives.

The National Gallery showed “Paris 1874: The Impressionist Moment,” which compares works from the first Impressionist exhibition, “Société Anonyme,” with the competing exhibition of the time, “The Paris Salon.”

Meanwhile, the Museum of the Bible offered the first public viewing of “The Megiddo Mosaic: Foundations of the Faith,” which dates from the year 230 and sheds new light on the early Christian church.

At the opening of “The Megiddo Mosaic” Carlos Campo, CEO of the Museum of the Bible noted that “Paris 1874” and “The Megiddo Mosaic” were similar in that they both require the viewer to step back to see the broad, unifying picture. This statement applies to both the artistic form and the socio-historical meaning: both exhibitions explore the role of women, political divisions and the beauty of a broader cultural lens.

Advertised as the birth of modern painting“Société Anonyme” broke with tradition not only in style, but also in its depiction of modern domestic life, with a special focus on women. The Impressionists redefined what was worthy of public attention and portrayed scenes from everyday life, the family and the domestic sphere.

Instead of depicting women in all their finery, merely as ornaments of society, the artists showed a more intimate perspective.

Berthe Morisot showed two paintings by her sister in ‘Société Anonyme’: one entitled ‘The Mother and Sister of the Artist’ and the other ‘The Cradle’, the latter depicting the woman looking down at her sleeping child in a cradle .

Edgar Degas’ “At the Races in the Countryside” features a breastfeeding mother (or wet nurse). While such images may not seem groundbreaking today, they certainly would not have been welcome at “The Paris Salon” at the time.

“The Megiddo Mosaic,” discovered in 2005, is believed to have served as the floor of a prayer room in the early church, an ornate carpet that would have supported the communion table.

Three inscriptions adorn the mosaic; the one on the west side of the south panel – which reads: ‘The God-loving Akeptous has offered the table in memory of God Jesus Christ’ – is greets as the most important because it reaffirms the early church’s belief in the divinity of Jesus Christ.

Akeptous, specifically a woman, is said to have donated the money for the communion table. This, coupled with the fact that the east side of the south panel bears the names of four more females (“think Primilla and Cyriaca and Dorthea, and finally Chreste”), emphasizes the importance of women in the early church. Although we do not know the exact role of these individuals – possibly martyrs, benefactors, ministers or scholars – the inscription of their names in such a place of honor speaks volumes.

Both exhibitions commemorate the artists and clients who chose to go against the status quo and dedicate their lives to something new and groundbreaking. The Musee d’Orsay described the budding impressionist artists of the ‘Société Anonyme’ as a ‘clan of rebels’, aiming to break with traditional artistic representations and lofty themes.

When the pieces are shown together in “Paris 1874,” the viewer can clearly see the stark differences; namely the work of the Impressionists to bring the viewer closer together, evoking an intimacy of perspective that the ‘Salon’ paintings do not provide. The work of the Impressionists encompasses a broader view of the human experience in the modern world, capturing the tender, everyday moments of life at different socio-economic levels.

“Paris 1874” and “The Megiddo Mosaic,” like all good art exhibitions, draw us in while broadening our perspectives. By recognizing (predominantly female) individuals who have usually been sidelined, each paints a more inclusive picture of their moments in history.

‘Paris 1874’ is on view at the National Gallery until January 19, 2025. ‘The Megiddo Mosaic: Foundations of Faith’ is on display at the Museum of the Bible until July 6, 2025.