The Museum Barberini has granted this painting as a loan to the exhibition Tracks to Modernity,  which will be on view at the Musées Royaux des Beaux-Arts de Belgique in Brussels from October 15, 2021, to February 13, 2022.
 
Progress and modernization were central themes in the work of Gustave Caillebotte. The Argenteuil Bridge and the Seine is one of several paintings in which the Impressionists traced the rapidly advancing infrastructure in the Parisian countryside. In a radical rejection of established compositional formulas, Caillebotte has focused on just one of the metal bridge’s seven arches – an unusual pictorial arrangement that bears witness to the influence of contemporary photography. In the left-hand background, the artist included a view onto the highly modern railway bridge through which Argenteuil enjoyed a direct connection to the Gare Saint-Lazare in Paris since 1851. The exhibition in Brussels focuses on the painterly fascination with the rapid changes brought about by the growing national and international interconnection, which the train facilitated as a new and quintessentially modern means of transportation.

The Museum Barberini has granted this painting as a loan to the exhibition I: Max Liebermann – A European Artist. It will be on view at the Hessisches Landesmuseum Darmstadt from October 8, 2021, to January 8, 2022, and at the Kunstpalast Düsseldorf from February 2 to May 8, 2022.

As a driving force of nineteenth-century German painting, Max Liebermann was closely connected with the wider European art scene. The painting traditions of France and the Netherlands, in particular, played a significant role in his work. The exhibition addresses Liebermann’s engagement with his European forebears and contemporaries, including Jean-François Millet and Claude Monet, and provides a direct juxtaposition with selected works. Among the numerous lenders are the Nationalgalerie in Berlin, the Musée d’Orsay in Paris, the Kunstmuseum Den Haag, and the Teylers Museum in Haarlem.

The Museum Barberini has granted this painting as a loan to the exhibition Monet in Étretat, which is on view at the Seattle Art Museum from July 1 to October 21, 2021.

In the 1880s, Claude Monet spent several painting stints at the Northern French fishing village of Étretat. There, he executed around 80 compositions, many of which evolved as variations around one and the same motif. Taking its cue from one of the works in its own collection (Fishing Boats at Étretat from 1885), the Seattle Art Museum explores the role of Étretat in Monet’s artistic evolution. The painting from the Hasso Plattner Collection is displayed in the context of other compositions, in which the artist focused on the dramatic rock formation of the so-called Porte d’Aval.

The Museum Barberini has granted this painting as a loan to the exhibition Caillebotte: Impressionist and Modern, which is on view at the Fondation Pierre Gianadda in Martigny from June 18 to November 21, 2021. 

With his participation at the second Impressionist Exhibition in Paris in 1876, Gustave Caillebotte joined the burgeoning movement around Claude Monet. For a long time, his own contribution as a painter remained overshadowed by his fame as one of the earliest important patrons and collectors of Impressionism. The Fondation Pierre Gianadda now revisits his entire development as an artist in a monographic show that assembles around 90 selected paintings. Amongst the numerous international lenders are the National Gallery of Art in Washington, the Petit Palais in Geneva as well as the Musée Marmottan Monet and the Musée d’Orsay in Paris. With overall six paintings, the Collection Hasso Plattner boasts the most significant holdings of works by the artist in Germany.