68; 69, fig. Warren Adelson, Childe Hassam: Cosmopolitan and Patriot, in Warren Adelson, Jay Cantor, and William H. Gerdts, Childe Hassam: Impressionist (Abbeville, 1999), pp. 33; 34; 9293, cat. cat. 15556; 166, fig. 3. James H. Rubin, Das impressionistische Stadtbild als Emblem der Moderne, in Hartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 268. Ann Dumas, Degas and the Italians in Paris (National Galleries of Scotland, 2003), pp. Karin Sagner, Gustave Caillebotte: Neue Perspektiven des Impressionismus (Himer, 2009), pp. Martial Caillebotte, Gustave Caillebotte and Bergre on the Place du Carrousel, 1892 (Photo: Wikimedia Commons. Paris Street; Rainy Day, 1877 Gustave Caillebotte Background Gustave Caillebotte (1848-1894) was born into a wealthy Parisian family. 7, 1877, p. 2. 20. 28, 31, 3336. Receive our Weekly Newsletter. 9, 54 (ill.). 7, 19, 277. 1892 (Photo: Wikimedia Commons Public Domain). This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris. 11. cat. Anne Distel, Gustave Caillebotte, peintre, mcne et collectionneur, in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 18481894, trans. J. Kirk T. Varnedoe, Caillebottes Pont de lEurope: A New Slant, Art International: The Lugano Review 18, 4 (Apr. The background of Gustave Caillebottes Paris Street; Rainy Day (1877);Gustave Caillebotte, Public domain, via Wikimedia Commons. In fact, Caillebotte was profoundly influenced by photography, an art form practiced by his brother, Martial. Paris Street, Rainy Day. 22, 25, 26, 27. 47. Thomas Grimm [Pierre Vron], Les impressionnistes, Le petit journal, Apr. This painting is more academic than Impressionist in character. cat. 29, 2013. 92, 94 (ill.). 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. 99; 298. 16; 2627; 31; 44; 45. (The Detroit Institute of Art/ Yale University Press, 2017), p. 31, fig. cat. 47. (Hatje Cantz, 2008), p. 56. Shimbata Yasuhide, ed., Gustave Caillebotte: Impressionist in Modern Paris, exh. Members: the first hour of every day, 1011 a.m., is reserved for memberonly viewing. Sothebys, New York, La Belle Epoque: Paintings, Drawings and Sculpture, sale cat. 308; 309, fig. 80; 86, fig. The wide-angle lens, in particular it was patented in 1860 allowed photographers a larger field of vision, which was handy for capturing architecture in tight urban spaces. Michel Laclotte, The Art and Spirit of Paris (Abbeville, 2003), pp. Anne Distel, Yerres, in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. 47, 56, 57. 6. Time Zone & Clock Changes in Grenoble, Isre, France - TimeAndDate cat. Gloria Groom, ed., Impressionism, Fashion, and Modernity, exh. 17; 23, fig. Walter P. Chrysler sold it to the Art Institute of Chicago in 1964 the price is unknown. [Quiz], The Fascinating History of Paint-by-Numbers Kits, 14 Famous Female Painters Every Art Lover Should Know, 14 Groundbreaking African American Artists Who Shaped History, Largest Ever Exhibition of Vermeer Paintings Is Now on View in Amsterdam, The History of the Color Orange: From Tomb Paintings to Modern-Day Jumpsuits. Renaud Temperini, La peinture franaise, under the direction of Pierre Rosenberg, vol. They are unambiguously middle class. 56. (Linea dOmbra, 2004), p. 79. 20, 1877), p. 187. Paris Street; Rainy Dayremained in the Caillebotte family until 1955, when it was purchased by prolific art collector Walter P. Chrysler Jr. Less than a decade later, Chrysler sold it Wildenstein and Company, a historic art dealership, who, in turn, sold to the Art Institute of Chicago in 1964. Although it has been described in terms of also belonging to the Realism art style because it was portrayed with more detail compared to the characteristic Impressionism paintings. Michael Boodro, Art and Fashion: A Fine Romance, Art News 89, 7 (Sept. 1990), p. 126 (ill.). 35. mile Zola, often a critic of Caillebotte, praised this work in an article "Notes parisiennes: Une exposition: les peintres impressionnistes" published in Le Smaphore de Marseille in 1877. Cat. If we look closely at Caillebottes brushwork we will notice the characteristic Impressionistic brushstrokes, loose and expressive, although conversely, this painting is more realistically delineated than other Impressionistic paintings. Gleis, Ralph, et. Anne Distel and Rodolphe Rapetti, Petit Gennevilliers and Argenteuil, in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. Roger Ballu, Lexposition des peintres impressionnistes, La chronique des arts et de la curiosit, Apr. Marie Berhaut, introduction to 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. What is the man behind them thinking about? Caillebotte witnessed these vast transformations that were complete in 1870. (Metropolitan Museum of Art, New York/Abrams, 1994), pp. cat. Denys Sutton, Gustave Caillebotte, in Gustave Caillebotte, 18481894: A Loan Exhibition in Aid of the Hertford British Hospital in Paris, exh. 4, 2015, cat. Robert Rosenblum and H. W. Janson, 19th-Century Art (Abrams, 1984), pp. Cover of the catalog of the first Impressionist exhibition in 1874;unknown / desconocido / inconnu, Public domain, via Wikimedia Commons. (Nihon Nippon Television Network, 1985), pp. Cobblestones dominate one full quarter of the canvas. Lionello Venturi, Les archives de limpressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; Mmoires de Paul Durand-Ruel; Documents, vol. (Runion des Muses Nationaux, 1994), pp. 42 (ill.), 43, 46. Charles Storch, Not All Art Institute Visitors Want to Pore Over New Rainy Day, Chicago Tribune, Sept. 14, 1994, p. 20. cat. Ph. 12; 19. 9697, fig. Michael Marrinan, Caillebottes Deep Focus, in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painters Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, Stphane Gugan, and Sarah Kennel, exh. Kathleen Adler, Unknown Impressionists (Phaidon, 1988), pp. This painting depicts a time of burgeoning Modernity, when Paris was at a crossroads, between the old and new, not only structurally, but socially and culturally. John Maxon, Place de lEurope on a Rainy Day, Calendar of the Art Institute of Chicago 59, 3 (May 1965), pp. Michael F. Zimmermann, Les mondes de Seurat: Son oeuvre et le dbat artistique de son temps (Fonds Mercator, 1991), p. 126, fig. Paris Street Rainy Day, Gustave Caillebotte: Analysis 47, 48 (ill.). cat. 7 (ill.). Kathleen Pyne, Resisting Modernism: American Painting in the Culture of Conflict, in Thomas W. Gaehtgens and Heinz Ickstadt, American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art, Issues and Debates (Getty Center for the History of Art and the Humanities/University of Chicago Press, 1992), p. 290. Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. He reportedly investigated different perspectives of the street scene, as well as the figures and the surrounding buildings. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), pp. The Haussmann buildings are easily recognizable due to their appearance and style; most of the boulevard buildings were built with what is known as Paris stone, otherwise Lutetian limestone, which has been described as a creamy color. John Maxon, The Art Institute of Chicago (Abrams, 1970), pp. 192; 193, fig. As part of a new city plan designed by Baron Georges-Eugne Haussmann, these streets were relaid and their buildings razed during the artists lifetime. cat. He started studying art in 1873 at the cole des Beaux-Arts and reportedly did not stay long. The vanishing point of the painting appears to be just above the middle of the pictures, where a crucifix is shown. MaryAnne Stevens, ed., Alfred Sisley, exh. Andr Dombrowski, History, Memory, and Instantaneity in Edgar Degass Place de la Concorde, Art Bulletin 93, 2 (June 2011), p. 199, fig. 48; 11923; 124; 12526; 130; 132; 244; 245; 246. While this choice of scenery may not seem revolutionary today, it is one of Impressionism's major contributions to modern art. 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. 75, 77. Color and light in Gustave Caillebottes Paris Street; Rainy Day (1877);Gustave Caillebotte, Public domain, via Wikimedia Commons. Paris Street; Rainy Day 1877 Gustave Caillebotte (French, 1848-1894) This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris. Online Scholarly Catalogues at the Art Institute of Chicago Gustave Caillebotte uses which technique in 'Paris Street: Rainy Day'? Yet there were things about photography Caillebotte felt he could make use of. Paris, Galeries Nationales du Grand Palais, Gustave Caillebotte, 18481894, Sept. 16, 1994Jan. 35 (ill.); Metropolitan Museum of Art, New York, asImpressionism, Fashion, and Modernity, Feb. 26May 27, 2013, cat. Gustave Caillebotte, The Floor Scrapers, 1875 (Photo: Wikimedia Commons Public Domain). (Minneapolis Institute of Arts, 1969), p. 19. T. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and His Followers (Knopf, 1984), pp. Caillebottes palette of gray, blue and green here is subtle, but it combines with the watery reflections on the cobblestones to give the picture its astonishing vividness. 16 (ill.), 142. Photo editing and research by Kelsey Ables. We will notice how Gustave Caillebotte employs various characteristics related to photography in his paintings, especially the photorealistic qualities; how he crops the composition as well as utilizes different areas of focus as if he used a camera lens. M., Arts: Les impressionnistes, Revue des ides nouvelles 11 (May 1, 1877), p. 167. 20, 2013, cat. Norma Broude, A World in Light: France and the International Impressionist Movement, 18601920, in World Impressionism: The International Movement, 18601920, ed. In contrast, Caillebottes precise brushwork and crisp detail gave the impression of a frozen moment or a photographic snapshot. They are dressed in the height of contemporary Parisian fashion. 28 (ill). 171, 216. 150; 169. Charles S. Moffett, exh. xii; 92, fig. He died on February 21, 1894, reportedly from a stroke. Exposition des impressionnistes: 6, rue le Peletier, 6, La petite rpublique franaise, Apr. Gloria Groom, exh. xv; xvii, fig. Portland (Ore.) Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., exh.

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