Henri Perruchot, “Scandale au Luxembourg,” L’oeil 9 (Sept. 1955), pp. Jeanne Bouniort, exh. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), pp. 6, 1877, p. 2. cat. For these reasons, the painting dominated the celebrated Impressionist exhibition of 1877, largely organized by the artist himself. 4.7. 124, 140 (ill.). Paris Street; Rainy Day (1877) was created during a pivotal time in the artist’s career. 15; 154. 18; 90; 91 (detail); 92; 93 (detail); 94–95; 110; 176; 187–91; 206; 207. Marco Goldin, ed., Turner e gli impressionisti: La grande storia del paesaggio moderno in Europa, exh. 134; 135, ill. 5.12. 38 (ill.). cat. In 1955 it was purchased by Walter P. Chrysler Jr., who in 1964 resold it to the Art Institute of Chicago. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. Portland (Ore.) Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., exh. Erik Mørstad, “Christian Krohg i Skagen: Et Norsk Perspektiv,” in Christian Krohg og Skagen, exh. (Musée d’Orsay/Skira Flammarion, 2012), pp. 2 (detail); 4; 19; 55; 56–57, cat. cat. 18 (ill.). 9, 1877, pp. L. G., “Le salon des ‘impressionnistes,’” La presse, Apr. Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 80; 86, fig. (Wildenstein, 1966), p. 9. Nancy Forgione, “Everyday Life in Motion: The Art of Walking in Late-Nineteenth-Century Paris,” Art Bulletin 86, 4 (Dec. 2005), pp. Free Shipping, 60-Day Money Back Guarantee AND Free Return Shipping. (Galerie Beaux-Arts, 1951), cat. Charles Bigot, “Causerie artistique: L’exposition des ‘impressionnistes,’” La revue politique et littéraire, Apr. Anne Distel and Rodolphe Rapetti, “Au Petit Gennevilliers,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. A workman in the background, between the figures in the foreground, carries a ladder. 124, 127. 3 (detail), 4, 42, 43 (ill.), 45–46, 47 (detail). The square is crossed by the rue de Saint-Pétersbourg [fr], suggested by the line of the buildings to the left and a break in the buildings to the right. cat. 287; 289, fig. C. D., “L’exposition des impressionnistes,” Le petit moniteur universel, Apr. cat. Paris Street; Rainy Day Origin Paris Date Made 1877 Medium Oil on canvas Inscriptions Inscribed at lower left: G. Caillebotte. Norma Broude (Rutgers University Press, 2002), pp. 18 (ill.); 85. See how the building in the background is going off into two separate vanishing points? Georges Rivière, “L’exposition des impressionnistes,” L’impressionniste, Apr. (Portland Art Museum, 2003), p. 30, fig. Paris Street; Rainy Day (1877) is the best known painting by the French artist Gustave Caillebotte.This large oil painting shows a number of figures walking through the Carrefour de Moscou, a road intersection to the east of the Gare Saint-Lazare in north Paris. Anne Distel, “Introduction: Caillebotte as Painter, Benefactor, and Collector,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. Kirk Varnedoe, “Cherchez l’intrus: Une brève historiographie des changements de situation de Caillebotte dans l’histoire de l’art,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Kirk Varnedoe, Gustave Caillebotte (Yale University Press, 1987), pp. cat. (Museum of Contemporary Art, Los Angeles/Scalo, 1997), p. 27 (ill.). 40-41. Karin Sagner and Max Hollein, in cooperation with Ulrich Pohlmann, exh. al., Gustave Caillebotte, Painter and Patron of Impressionism, exh. 82–83 (ills. (Hatje Cantz, 2008), p. 27. Jill Shaw, Framing Life, cat. Perhaps one of the most recognisable paintings of 19 th century France, Gustave Caillebote’s ‘Paris Street; Rainy Day’ is an intriguing view of a less optimistic side of Paris often expressed in the paintings of the Impressionists. cat. (Museum of Fine Arts, Houston, 1976), p. 110]; sold to Wildenstein and Company, 1964 [per email from Joseph Baillio, Wildenstein and Company, copy in curatorial object file]; sold to the Art Institute of Chicago, 1964 [per minutes from the meeting of the Committee on Earlier Painting and Sculpture, November 25, 1964 and minutes from the meeting of the Board of Trustees, December 21, 1964, both on file in Institutional Archives, Art Institute of Chicago]. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. 7, 1957. On the other hand, its asymmetrical composition, unusually cropped forms, rain-washed mood, and candidly contemporary subject stimulated a more radical sensibility. Gloria Groom, exh. Marie Berhaut, Caillebotte: The Impressionist, trans. Paris Street; Rainy Day, 1877. 50; 51, fig. Jack Perry Brown, “The Return of the Salon: Jean Gérôme in the Art Institute,” Art Institute of Chicago Museum Studies 15, 2 (1989), p. 157. SIGNATURE: HAND SIGNED AND NUMBERED BY THE ARTIST. 35 (ill.); Metropolitan Museum of Art, New York, asImpressionism, Fashion, and Modernity, Feb. 26–May 27, 2013, cat. 27; 28; 29, fig. J. Kirk T. Varnedoe and Peter Galassi, “Caillebotte’s Space,” in J. Kirk T. Varnedoe and Thomas P. Lee, Gustave Caillebotte: A Retrospective Exhibition, with contributions by J. Kirk T. Varnedoe, Marie Berhaut, Peter Galassi, and Hilarie Faberman, exh. cat. The artist (died 1894); by descent to Martial Caillebotte (brother) and Marie Minoret (Martial’s wife), Paris, 1894 [this and the two following per Portland Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., exh. Caillebotte was an active member of the Impressionist movement, even though he painted in a more realistic style than other members of the group. 46; 47, fig. Hagen believes that given their close quarters, they will both be unable to comfortably step out of the man's way, but also their averted gaze applies equally to the viewer, who looks from a perspective equal to us. cat. Peter Bürger, “Media Differences: Caillebotte and Maupassant as Storytellers,” in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter Bürger et al., exh. cat. 8, 1877, p. 2. 14, 1975), front cover (ill.). cat. 4 (detail); pp. 128–129 (ill.); 130; 136–139; 146; 148; 152–156, cat. Juliet Wilson-Bareau, Manet, Monet, and the Gare Saint-Lazare, exh. 12, 1877, p. 1. 53. At the forefront of the Paris Street; Rainy Day painting by Caillebotte are two figures dressed according to the latest Parisian vogue worn by the bourgeoisie – the woman wears a hat, veil, diamond earrings, and a sophisticated brown dress, and a fur-lined coat, while the man is a proper gentleman in a topcoat, top hat, bow tie, starched white shirt, buttoned waistcoat and an open long … 1. Karin Sagner, Matthias Ulrich, Vittorio Magnago Lampugnani, and Max Hollein, exh. Charles S. Moffett, ed., The New Painting: Impressionism, 1874–1886, with the assistance of Ruth Berson, Barbara Lee Williams, and Fronia E. Wissman, exh. John Russell Taylor, Impressionist Dreams: The Artists and the World They Painted (Barrie & Jenkins, 1990), p. 36 (ill.). 12; 14–15, pl. Norma Broude, “Outing Impressionism: Homosexuality and Homosocial Bonding in the Work of Caillebotte and Bazille,” in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. cat. (Hatje Cantz, 2008), p. 112. 2, 1977, cat. 8–9, 54 (ill.). 36, fig. 7, 1877, p. 1. 4, 2015, cat. Marie-Amélie Anquetil, “Caillebotte: Peintre et cinéaste,” Caillebotte, Dossier de l’art 20 (Sept. 1994), pp. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 1, as Rue de Paris; Temps de pluie. 1977), pp. cat. (Flammarion/Culturspaces/Musée National des Beaux-Arts du Québec/Musée Jacquemart-André, Institute de France, 2011), pp. 11 (ill.). 63; 64, fig. Mary Morton, “Caillebotte in Contemporary Criticism,” in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter’s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. (Fondation de l’Hermitage/Bibliothèque des Arts, 2005), pp. The ground floor of the building between the Rue de Moscou and the Rue Clapeyron, showing a 'pharmacie' sign in the painting, still houses a pharmacy today. (Réunion des Musées Nationaux, 1994), pp. Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. John Russell Taylor, Exactitude: Hyperrealist Art Today, ed. Paris Street; Rainy Day (French: Rue de Paris, temps de pluie) is a large 1877 oil painting by the French artist Gustave Caillebotte (1848–1894), and is his best known work. Shimbata Yasuhide, exh. Cobblestones dominate one full quarter of the canvas. Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James Cuno (Art Institute of Chicago/Yale University Press, 2009), pp. Warren Adelson, “Childe Hassam: Cosmopolitan and Patriot,” in Warren Adelson, Jay Cantor, and William H. Gerdts, Childe Hassam: Impressionist (Abbeville, 1999), pp. The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Caillebotte was a friend of many of the impressionist painters, and this painting is part of that tradition. With its gaslights, carriages, and cobblestone streets, Gustave Caillebotte’s Paris Street; Rainy Day may seem to some twenty-first-century viewers like a quaint evocation of old-world Paris. Roger Ballu, “L’exposition des peintres impressionnistes,” La chronique des arts et de la curiosité, Apr. He makes the middle ground section more clear, mimicking the effect of a camera. Michael Marrinan, “Caillebotte’s Deep Focus,” in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter’s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. 163; 164, pl. Norma Broude (Abrams, 1990), p. 57. 4.3 out of 5 stars 54. Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 1800–1900, exh. Jeanne Bouniort, exh. The neoclassical buildings reflect the construction works of Baron Haussmann. 2 (Durand-Ruel, 1939), p. 319. 19, 1877, p. 1. Anne Distel, “Chronology,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. John Maxon, “Some Recent Acquisitions,” Apollo 84, 55 (Sept. 1966), front cover (detail); pp. [6], Paris Street; Rainy Day gives a view from the eastern side of the Rue de Turin [fr], looking north toward the Place de Dublin. Credit Line Charles H. and Mary F. S. Worcester Collection Reference Number 1964.336 Paris Chicago ... we all immediately rack our brains for a list of things to do on a rainy day in Miami. Jean Chardeau, Les dessins de Caillebotte (Hermé, 1989), pp. The man wears a moustache, topcoat, frock coat,[5] top hat, bow tie, starched white shirt, buttoned waistcoat and an open long coat with collar turned up. Robert Boardingham, Impressionist Masterpieces in American Museums (Hugh Lauter Levin, 1996), pp. cat. (Réunion des Musées Nationaux, 1994), p. 96. cat. 93 (ill.); Art Institute of Chicago, June 26–Sept. 12; 13, fig. 2 (Mengès, 2001), p. 776 (ill.). Anne Distel, “Naissance d’un impressionniste,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. 342, pl. This painting was regarded as one of the best-known works of Gustave Caillebotte. (Réunion des Musées Nationaux, 1994), p. 353. Gloria Groom, exh. It shows a number of individuals walking through the Place de Dublin, then known as the Carrefour de Moscou, at an intersection to the east of the Gare Saint-Lazarein north Paris. Kirk Varnedoe, “Late Recognition for One of the Original Impressionists,” Chronicle of Higher Education, Feb. 3, 1988, p. B27 (ill.). cat. [1] It shows a number of individuals walking through the Place de Dublin, then known as the Carrefour de Moscou, at an intersection to the east of the Gare Saint-Lazare in north Paris. 76–77 (ill.). Éric Darragon, “Gustave Caillebotte, une nouvelle peinture,” in Serge Lemoine et al., Dans l’intimité des frères Caillebotte: Peintre et photographe, exh. Gaëtan Picon, Émile Zola: Le bon combat, de Courbet aux impressionnistes (Hermann, 1974), pp. cat. Sandra Gianfreda, exh. Alexandra K. Wettlaufer, “Paintings of Modern Life: Representing Modernity in Baudelaire, Balzac, Zola, and Caillebotte,” in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter’s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. 244; 267, n. 14; 248; 249. (E. Moreau, 1894), p. 5, cat. The painting’s highly crafted surface, rigorous perspective, and grand scale pleased Parisian audiences accustomed to the academic aesthetic of the official Salon. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), p. 291, cat. (Réunion des Musées Nationaux, 1994), pp. 35 (ill.); Art Institute of Chicago, as Gustave Caillebotte: Urban Impressionist, Feb. 18–May 28, 1995; Los Angeles County Museum of Art, June 22–Sept. David P. Jordan, Transforming Paris: The Life and Labors of Baron Haussmann (Free Press, 1995), opp. 5. cat. (Portland Art Association, 1956), p. 47. Washington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874–1886, Jan. 17–Apr. cat. The author, a 29-year-old and independently wealthy artist was the youngest member of the Impressionist group. Displayed at the third of the Impressionist exhibitions, held in April 1877, " Paris Street, Rainy Day " was kept within the family until the mid-twentieth century. Essen, Germany, Museum Folkwang, Bilder einer Metropole: Die Impressionisten in Paris, Oct. 2, 2010–Jan. Jeanne Bouniort, exh. Richard Brettell, “Gustave Caillebotte and ‘The New Painting’: A Centennial Review,” Apollo 142, 406 (Dec. 1995), pp. 1980), front cover (detail); pp. There is more to the banal than meets the eyes in Gustave Caillebotte’s ‘Paris Street; Rainy Day’ which actually reveals much about the social, and economical conditions of modernity as a result of industrialization and physical transformation of cities emphasizing on openness and orderliness. 20, 21 (ill.). 78 (ill.). Julia Sagraves, “The Street,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. (Musée d’Orsay/Art Institute of Chicago, 1995), front cover (detail); p. 11. Ruth E. Iskin, Modern Women and Parisian Consumer Culture in Impressionist Painting (Cambridge University Press, 2007), pp. 7, 1877, p. 2. 233; 418. 43, 45. 2. ), 84 (detail), 85 (detail), 86 (detail), 87 (detail). 12; 18–19 (detail); 30–31, pl. 30, 2011, cat. Paul Mantz, “L’exposition des peintres impressionnistes,” Le temps, Apr. (Frick Collection/Yale University Press, 2012), pp. 1977), pp. 13, 14. 60, 66. The figures seem mostly isolated, and their expressions are largely downcast. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. MaryAnne Stevens, ed., Alfred Sisley, exh. J. Kirk T. Varnedoe, with Hilarie Faberman, “Gustave Caillebotte: A Biography,” in J. Kirk T. Varnedoe and Thomas P. Lee, Gustave Caillebotte: A Retrospective Exhibition, with contributions by J. Kirk T. Varnedoe, Marie Berhaut, Peter Galassi, and Hilarie Faberman, exh. Raymond Cogniat et al., with the assistance of Robert Maillard, Dictionnaire de la peinture moderne (Hazan, 1954), p. 43. Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by Douglas Druick (Art Institute of Chicago/Yale University Press, 2013), pp. (Réunion des Musées Nationaux, 1994), pp. Thomas Grimm [Pierre Véron], “Les impressionnistes,” Le petit journal, Apr. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. 2. 1971), p. 18. Gustave Caillebotte, Paris Street; Rainy Day, 1877, oil on canvas 83-1/2 x 108-3/4 inches (212.2 x 276.2 cm) (The Art Institute of Chicago) Smarthistory images for teaching and learning: (Fine Arts Museums of San Francisco, 1986), pp. Paris Street; Rainy Day is Gustave Caillebotte’s most famous work. 47. 44, fig. Charles Storch, “Not All Art Institute Visitors Want to Pore Over New ‘Rainy Day,’” Chicago Tribune, Sept. 14, 1994, p. 20. cat. cat. cat. Corcoran Gallery of Art, Beyond the Frame: Impressionism Revisited; The Sculptures of J. Seward Johnson, Jr., with an essay by Petra ten-Doesschate Chu (Bulfinch, 2003), pp. (Hatje Cantz, 2008), p. 56. 8, 1877,pp. Caillebotte's interest in photography is evident. Courbet originally submitted this painting to the official exhibition of the French … “Cat. It was acquired by Walter P. Chrysler Jr. in 1955, who in turn sold it to the Art Institute of Chicago in 1964.[11]. cat. Sculpture Foundation, Solid Impressions: J. Seward Johnson, Jr. (Sculpture Foundation, 2002), p. 10 (ill.). 75, 77. Albert Boime, Art and the French Commune: Imagining Paris after War and Revolution, Nineteenth-Century Art, Culture, and Society (Princeton University Press, 1995), pp. 308; 309, fig. It shows a number of individuals walking through the Place de Dublin, in 1877 known as the Carrefour de Moscou, at an intersection to the east of the Gare Saint-Lazare in north Paris. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. $30.95 $ 30. 27–May 27, 1956; San Francisco, California Palace of the Legion of Honor, opened June 11, 1956; Los Angeles County Museum, July 27–Aug. 20; 22, pl. Simultaneously published as Gloria Groom and Douglas Druick, The Age of Impressionism at the Art Institute of Chicago, with the assistance of Dorota Chudzicka and Jill Shaw (Art Institute of Chicago/Yale University Press, 2008), pp. 18 (ill.); 85. (Minneapolis Institute of Arts, 1969), p. 19. Jean-Jacques Lévêque, Gustave Caillebotte: L’oublié de l’impressionnisme, 1848–1894 (ACR Édition, 1994), pp. cat. 8; 98; 99. 10, 1995. 15, 29. Robert Rosenblum, “The Nineteenth-Century Franc Revalued,” in Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 1800–1900, exh. 88; 92; 94–98; 99; 100; 101; 110; 112; 116–22, cat. David McCracken, “Picking Chicago’s Top Art Hits,” Chicago Tribune, Aug. 18, 1989, p. 7.3 (ill.). Anne Grevstad-Nordbrock, “A Stolen Kiss: Robert Doisneau’s Photographic Icon,” Visual Resources: An International Journal of Documentation 13, 2 (1997), pp. Gloria Groom and Genevieve Westerby (Art Institute of Chicago, 2015). Christopher Andreae, “Gustave Caillebotte’s ‘New’ Paris,” Christian Science Monitor, Jan. 29, 1990, pp. xii; 92, fig. 1877 Dimensions 212.2 × 276.2 cm (83 1/2 × 108 3/4 in.) (Bridgestone Museum of Art/Ishibashi Foundation, 2013), pp. Art Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. Gloria Groom, ed., Impressionism, Fashion, and Modernity, exh. Patrick Shaw Cable, “Questions of Work, Class, Gender, and Style in the Art and Life of Gustave Caillebotte” (Ph.D. The picture Paris Street Rainy Day was painted showing Rue de Turin’s eastern side located north toward the Place de Dublin. Jeanne Bouniort, exh. 15; 16, fig. 14, 2016. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), pp. Hartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. Ernest Fillonneau, “Les impressionnistes,” Moniteur des arts, Apr. Gustave Caillebotte's best-known work, Paris Street: Rainy Day (above), painted in 1877, shows a vast cobblestone street, stretching out in front of looming, wedge-shaped buildings. (Museum of Fine Arts, Houston, 1976), p. 15. cat. diss., University of Michigan, 1981), pp. Caroline Mathieu, “Eugène Haussmann und das Neue Paris,” in Die Eroberung der Strasse: Von Monet bis Grosz, ed. 3. 20. cat. 28, 31, 33–36. Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab 117, 124, 125, 132, 135, 139, 142, 144, 145, 146, 148, 152, 156, 158–59, 163, 164, 165, 167, 169, 173, 175, 176, 183, 187, 188, 190, 191. [6] The painting is highly linear;[9] its focus draws the viewer's eye to the vantage point at the center of the buildings in the background. Baron Schop [Théodore de Banville], “Choses et autres,” Le national, Apr. To help improve this record, please email . 28 (ill). 14, 1986, not in cat. 23, cat. [8] The point of view of the roads and the buildings portrayed allows Caillebotte to use two-point perspective. 1988), p. 48 (ill.). 30; 538. This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris. Catalogue de la 3e exposition de peinture, exh. 16.39. 37. 26, 1956; Minneapolis Institute of Arts, Sept. 7–Oct. Museum of Fine Arts, Houston, Gustave Caillebotte: A Retrospective Exhibition, Oct. 22, 1976–Jan. John Milner, Atelier d’artistes: Paris, capital des arts à la fin du XIXe siècle, trans. cat. H. Barbara Weinberg, “Hassam in New York, 1889–1896,” in H. Barbara Weinberg, Childe Hassam: American Impressionist, with contributions by Elizabeth E. Barker et al., exh. cat. (Christie’s, New York, Nov. 4, 2003), p. 44, fig. Paris, Musée d’Orsay, L’impressionnisme et la mode, Sept. 25, 2012–Jan. Anonymous [possibly George Lafenestre], “Le jour et la nuit,” Le moniteur universel, Apr. Durand-Ruel, Paris, Exposition rétrospective d’oeuvres de G. Caillebotte, exh. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 309. (Folkwang/Steidl, 2010), pp. 21; 296–97. “Lecturer’s Choice,” Bulletin of the Art Institute of Chicago 67, 4 (Jul.–Aug. Shimbata Yasuhide, “Caillebotte and the Modern City of Paris: In a Time of Upheaval,” in Gustave Caillebotte: Impressionist in Modern Paris, ed. cat. Paris Street: A Rainy Day Canvas Wall Art by Gustave Caillebotte. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), pp. In many ways, Caillebotte’s frozen poetry of the Parisian bourgeoisie prefigures Georges Seurat’s luminous Sunday on La Grande Jatte—1884, painted less than a decade later. Art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), pp. Denys Sutton, “Gustave Caillebotte,” in Gustave Caillebotte, 1848–1894: A Loan Exhibition in Aid of the Hertford British Hospital in Paris, exh. cat. cat. Georges Rivière, “Les intransigeants et les impressionnistes: Souvenir du salon libre de 1877,” L’artiste, Nov. 1, 1877, p. 302. Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. Karin Sagner and Max Hollein, eds., in cooperation with Ulrich Pohlmann, Gustave Caillebotte: An Impressionist and Photography, exh. They are unambiguously middle class. H. Barbara Weinberg, Doreen Bolger, and David Park Curry, American Impressionism and Realism: The Painting of Modern Life, 1885–1915, with the assistance of N. Mishoe Brennecke, exh. She wears a hat, veil, diamond earring, demure brown dress, and a fur lined coat, described in 1877 as "modern – or should I say, the latest fashion". cat. Clive Scott, Street Photography: From Atget to Cartier-Bresson (I. 64. 189, 243. Dennis Paul Costanzo, “Cityscape and the Transformation of Paris during the Second Empire” (Ph.D. Norma Broude (Abrams, 1990), pp. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), back cover, cat. cat. “Exposition des impressionnistes: 6, rue le Peletier, 6,” La petite république française, Apr. cat. Exhibitions Elsewhere,” New York Times, Apr. 26. Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 1979), p. 15. Maria Mimita Lamberti, “Mitografie parigine nel secondo ottocento,” in Pier Giovanni Castagnoli, Barbara Cinelli, and Maria Mimita Lamberti, De Nittis e la pittura della vita moderna in Europa (Galleria Civica d’Arte Moderna e Contemporanea, 2002), pp. 93 (ill.). MaryAnne Stevens, exh. cat. cat. The intervening space between oneself and other people has great social significance; sometimes one wishes to preserve that distance, and sometimes one wants to eliminate it. 9, 1956; City Art Museum of Saint Louis, Oct. 20–Nov. René Huyghe, La relève du réel: La peinture française au XIXe siècle; Impressionisme, symbolisme (Flammarion, 1974), p. 154, no. 78 (ill.); Seattle Art Museum, Apr. Michael Bockemühl, “Innocence of the Eye and Innocence of the Meaning: Zum Problem der Wirklichkeit in der realistischen Malerei von Gustave Caillebotte,” Modernität und Tradition: Festschrift für Max Imdahl zum 60 Geburtstag, ed. 222. cat. Michael Fried, “Caillebotte’s Impressionism,” Representations 66 (Spring 1999), pp. Paris, Durand-Ruel, Exposition rétrospective d’oeuvres de G. Caillebotte, June 4–16, 1894, cat. 92, 94 (ill.). William H. Gerdts, “Impressionism in the United States,” in World Impressionism: The International Movement, 1860–1920, ed. (Folkwang/Steidl, 2010), pp. (Linea d’Ombra, 2004), p. 79. As part of a new city plan designed by Baron Georges-Eugène Haussmann, these streets were relaid and their buildings razed during the artist’s lifetime. 675, fig. 2 (detail); 4; 19; 55; 56–57, cat. Unlike the brighter palettes of Impressionist painters like Degas , Renoir , and Monet , Caillebotte’s work is distinguished by his somber tones and use of plunging perspectives. 56 (ill.). Michel Laclotte, The Art and Spirit of Paris (Abbeville, 2003), pp. 25 (ill.); Brooklyn Museum, Feb. 12–Apr. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 145. Caillebotte also painted portraits and figure studies, boating scenes and rural landscapes, and decorative studies of flowers. Although Caillebotte was a friend and patron of many of the impressionist painters, and this work is part of that school, it differs in its realism and reliance on line rather than broad brush strokes. cat. 10, 1877, p. 2. cat. 168; 169, fig. 48; 119–23; 124; 125–26; 130; 132; 244; 245; 246. 93 (ill.); 189–95. 7, 19, 277. 61–62, 63. Belinda Thomson and Michael Howard, Impressionism (Bison, 1988), p. 36 (ill.). 11; 28; 31; 66; 67; 127; 146; 214; 244, fig. 46 (ill.), 47. Daniel Charles, “Caillebotte and Boating,” in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter Bürger et al., exh. FREE Shipping. Alfred Werner, “Joys Forever?,” Art and Artists 11, 132 (Mar. Mark Stevens, “When Impressionism Was New,” Newsweek, Feb. 3, 1986, p. 71 (ill.). 8–9 (ill.). 35. Gloria Groom, “Fleurs,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Léon de Lora [Louis de Fourcaud], “L’exposition des impressionnistes,” Le gaulois, Apr. cat. 23; 24, fig. (Metropolitan Museum of Art/Yale University Press, 2004), p. 58. 4–5 (ill.). In Gustave Caillebotte Caillebotte’s masterpiece, Paris Street; Rainy Day (1877), uses bold perspective to create a monumental portrait of a Paris intersection on a rainy day. 236. Shimbata Yasuhide, exh. Paris, Galerie Beaux-Arts, Rétrospective Gustave Caillebotte, May 25–July 25, 1951, cat. 1998 ), p. 313 1/2 × 108 3/4 in. ( Yale University Press 2004! Into two separate vanishing points, 2010–Jan Art/Yale University Press, 2007 ), pp Harada, Parisian!, 1974 ), pp Jan. 17–Apr, Turner E gli impressionisti: La grande storia paesaggio. 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