Diversities of people and cultures, sense of anonymity and optimistic yet fleeting feeling that everything is possible, along with vibrancy of the landscape are some of the things that attracted artists to European capitals. Specific mood and appearance of cities, in this case Paris and Berlin, affected artists who chose to either capture the city’s spirit on canvas, or express feelings which the city triggered.
Although stylistically and atmospherically different, both paintings represent city scenes. Pissarro painted the ‘Montmartre Boulevard at Night’ in a true impressionistic manner with small and thin, yet visible brushstrokes, and created a sense of flickering excitement. On the other hand, painting ‘Nollendorfplatz’ is a good example of Kirchner’s typical wild, passionate, almost angry brushstrokes which are responsible for the overall feeling of dynamism. Elements on Pissarro’s painting such as carriages, trees and streetlamps make it an appealing one, specially for modern viewers and their visions of romantic Paris. Pissarro painted a lively and bustling Parisian night – lights are shining, carriages are arriving, people are having fun.
Kirchner’s painting radiates a completely different atmosphere. Starting with the unusual composition in a shape of an X, Kirchner creates a distorted and deformed space. Accentuated contour lines and dramatic choice of colours only deepen the unease a viewer can feel while looking at the painting. Elements that Kirchner chose to portray, Strassenbahns and tall, undefined buildings created a certain coldness and alienation. While Pissarro’s passers-by that occupy the pavement are barely visible, painted in soft and blurry shades of grey and purple, Kirchner’s characters resemble shadows, tall, black and deprived of any individuality, they stroll the streets of decadent Berlin, isolated from themselves and their surroundings, suffocated by the modern architecture around them. A suitable background for this painting would be the song ‘Kollaps’ by Einstürzende Neubauten.
Similarities between these two city scenes can be found in colours, but noticing this similarity again brings us to a great difference that is truly due to the art movements these two artworks belong to. Both Pissarro and Kirchner used blue and yellow in abundance. Whereas Pissarro’s blue is deep and soothing, Kirchner’s is cold, occasionally exceeding into shades of grey. Yellow that appears like a soft flickering light on Pissarro’s painting, on Kirchner’s painting it looks solid and exaggerated, its shade is almost sickly, at parts turning to bleak green shades, framed by solid brushstrokes of black. However, both paintings are ‘portraits’ of cities at a specific moment; vivacious Fin de siècle Paris and decadent catastrophic pre-Weimar Berlin. Still, as an Impressionist, Pissarro was interested in outward appearance and he captured the spirit of Paris at that specific moment, while Kirchner, as an Expressionist, presented us his own feelings and state of mind, using reality merely as an encouragement for expressing artistic experience.