Voiceover: I think to us in the early 21st century,

this painting looks like quaint old Paris.

Voiceover: It does.

We see a horse and carriage.

We see a woman wearing a long Victorian dress

with a bow on the back and a pretty hat,

strolling with her two children.

It really does look like a very quaint scene.

Voiceover: But to Renoir, and to the people depicted on this boulevard,

this would have been incredibly modern.

This was a brand new boulevard that rebuilt Paris.

This was a new world.

Voiceover: This was as modern and as contemporary as you could get in the 1870s.

Voiceover: And it's modern not only in terms of what it's depicting,

but it's modern in terms of how it's depicted.

This painting was made only one year after the first Impressionist Exhibition.

That term, "impressionism," had just been coined.

The idea of representing the city in a series of fleeting brush strokes

that seem to catch the moment was a radically new idea.

Voiceover: And Renoir was one of a group of artists who are doing this

who became known as "The Impressionists,"

who had, as you said, their first exhibition the year before,

so we might think about Monet or Camille Pissarro and Degas,

all of them painting different aspects of

this new sense of modern life in Paris.

Paris was, at this moment, being rebuilt from an old city

with narrow winding streets to a city of wide boulevards flooded with light,

a planned city lined with shops and cafes and trees,

the city of Paris that we know and love today.

Voiceover: It was to be the new Imperial City under Napoleon III,

and it wasn't just the architecture or the city planning that was being rebuilt.

In a sense, French culture was being rebuilt.

It was just five years earlier that France had been humiliated

in their defeat against the Germans, in the Franco-Prussian War.

Here, we have a rebirth of a modern optimism.

But none of that politics is apparent.

Voiceover: Renoir is interested in giving us a cross-section of what we might see

if we walked outside onto the boulevards in Paris.

On the left, we have a figure sitting alone on a bench, reading a newspaper.

Just to the right, we have two men who are talking who look rather well-dressed,

maybe businessmen.

Then just to the right of that, that small family led by a mother,

and then some figures in a carriage coming our way.

Voiceover: The city was a place to view,

and one could be a dispassionate onlooker, a flaneur.

Voiceover: You said before that the form of the painting

was also radically modern,

and I think that's also hard for us to understand

because to us, it looks quite normal,

and we love impressionist paintings like this,

but the sketchiness that we see here is radical.

Renoir has reduced these trees to big broad brushstrokes

in some areas that sweep across and also little dabs of paint in ...

Voiceover: He's not rendering the type of tree that's represented here.

We might guess that it might be a London plane tree perhaps,

but we don't know precisely what it is.

This is not about conveying the specifics of any individual form;

rather, representing the momentary.

That notion of the momentary, of the fragmentary

is such a modern and urban idea.

It's really perfect for the scene.

Voiceover: In representing the fleeting

but also representing an optical experience.

What does this look like to my eye at this moment?

Not what I know about a tree

but how I actually perceive and experience that tree

with the light coming through it on a bright summer day.

Voiceover: And he's remarkably successful in doing this.

Look at the carriage, for instance,

with the white horse and the driver and then the couple on the back.

It's only the barest notations,

and yet it feels as if that horse is moving forward towards us,

and we can almost hear its hoof-falls.

This becomes an environment that is filled with light motion

and filled with sound.

Voiceover: We talked about this painting

as being this remarkably new and modern image

in both its form and its content.

But in some ways, Renoir is also stepping back just a little bit.

He's giving us some clues about a recession at the space.

We have a diagonal line that appears to recede into the background,

much like a traditional orthogonal going from the bottom right

and moving back up toward the left.

Voiceover: And especially at the top of the apartment houses

and the top of the trees.

Voiceover: Exactly.

But we fail to really calculate a measurable distance into space,

and that was something that was required of paintings in the 19th century.

He is also not quite dissolving the form of the human body

as much as, for example, Monet is from exactly this time.

Like the "Boulevard des Capucines," for example,

the figures are really reduced to just a short few strokes of paint,

and you can't see fashion.

You can't see gesture.

Very characteristic of Renoir is this interest in human beings

and their social lives.

We're still getting a sense of family groups,

of people talking to one another,

of sociability.

Voiceover: This was a city inhabited,

and Renoir has created that social dynamic

that populated this new urban experience.

Voiceover: Right, but where other artists are interested in depicting

the sense of alienation or aloneness of that experience in the city

that was really different from the small-knit communities

that had made up Paris before that,

Renoir is showing us this more optimistic side of modern life.

(piano music)