Why Is Paris So Distinct?

Perhaps one of the most famous cities in the world, Paris still ranks as the third most visited city in the world today. But what makes Paris so distinct? What made it so extraordinary that the Impressionists would paint it its scenes over and over again? Those who have visited the city recall the grand boulevards, neo-classical architecture, and wonderful social scene the city offers. If you think about paintings of Paris; Monet, Manet, and Renoir are recognizable names for those both familiar and unfamiliar with the art world. These artists painted the streets, the rivers, and the general life of Paris itself. These most memorable traits, however, were only established in the mid-nineteenth century by architect Georges-Eugene Haussmann in his redesign of the city commissioned by Napoléon III.
After taking reign in 1851, Napoleon and Haussmann wanted to prevent another revolution.
They both knew revolutions, such as the one both had just participated in, relied upon the support of the bourgeois and the poor urban classes of society. By the mid-1800s, the population of Paris doubled to more than a staggering one million. This boom resulted in overcrowding and the spread of diseases all Parisians. The streets pre-Haussmann were narrow and did not set the scene to what the Impressionists would come to paint. Napoleon knew that these narrow streets were also easy to barricade, making it difficult for troops to quell rebellions quickly. A modernized city would allow technology into the city, keeping it on par with London, which had been rebuilt after the fire in 1666. France’s new capital would be not only a sight to behold, but also work to correct social issues that were destroying the city from the inside. Additionally, the new city plan would help prevent any future
uprisings.
Noting Napoleon’s need for a modern city, some may wonder who Haussmann was, and why he received the challenge of bringing medieval Paris into modern times. Haussmann was born in 1809 to a privileged and successful bourgeois family. Along with the protestant faith, he inherited a network of family connections and a prestigious spot at the University of Paris. These connections would later put him in contact with the revolutionary Louis-Napoleon, with which he developed a close relationship. This friendship would eventually lead him to position of chief architect in charge of redesigning Paris. Chapman describes Haussmann as a man whose interests were never sated, “…philosophy and the arts, science and law, high life and low life, he tasted them all with his insatiable appetite…and a zest for living.”

A New Paris

Haussmann’s redesign focused on several aspects which included: expansion of the sewer system; construction of wide boulevards; installation of gas lighting in streets; formulation of public building regulations; construction of monuments; an updated, uniform façade for public buildings, organization of a road system, and development of districts inside an expanded city perimeter. As we see in Figure 1, the redesigned roads and central plazas created a safer, centralized Paris. The uniform design of the buildings’ facades give life to the neo-classical style that both Haussmann and Napoleon preferred. Some debate still exists around whether Haussmann destroyed old Paris or created it anew. By the end of the renovations in 1870, around 20,000 buildings disappeared from the Paris streets and an estimated 60 percent underwent remodeling. In the end, however, the project was a success because it helped Paris to accommodate the drastic increase in citizenship. As a result, disease stopped spreading, city commute improved drastically, and Parisians had central gathering places where they could indulge in the developing social activities that would become known as urban leisure. Paris had been reborn.
A Changing Society
Haskins reviews the famous work of art historian Robert Herbert. Who believed that urban leisure, which originated in the late 19th century, not only set the social agenda of impressionism, but all of modernism as well. Haussmann did not only change the topography of the city, but its culture as well. With the reconstruction, department stores opened where the bourgeois could spend their large disposable incomes. A large cultural shift icon, the Paris Opera house, opened mid-way through the renovations and was perfect for accommodating the voyeuristic obsession Parisians developed. The city became a place of seeing others and being seen. Its very design encouraged its inhabitants to seek out and experience the vitality of life. During this time, working hours decreased because of the industrialization of Parisian economy, which gave all the social classes more time for more leisure activities. Suddenly, Parisians had extra time during their days and began looking for ways to fill it—primarily with entertainment. Thus, Parisian society became a place of café-concerts, public ballrooms, dance halls, theaters, etc. Even the lower class could afford the high gallery seats at the opera house. This social movement inspired the Impressionists to follow in the footsteps of the Realists before them in depicting the modern Parisian society.
Another popular pastime was leaving the hustle and bustle of the city for the countryside. Here Parisians would engage in leisure activities such as: dancing, boating, reading and walking, eating, and enjoying the new streets and culture that emerged. The upper and middle classes