2; 4; 11; 18; 80; 84; 88; 89, pl. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 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. Intended to offer forward-thinking creatives an alternative to the salons of the Acadmie des Beaux-Arts (Academy of Fine Arts), this new tradition appealed to Caillebotte. Caillebotte continued to make changes on the original canvas, like adding new characters, the two women walking away in the background. 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. 29, fig. Still, there is no documentation supporting the claim that Caillebotte ever used such a tool. (Portland Art Association, 1956), pp. 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. 1877, Charles H. and Mary F. S. Worcester Collection. Sarah Kennel, Photograph and the Painters Eye, 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. Marie Berhaut, Gustave Caillebotte: Catalogue raisonn des peintures et pastels, with assistance by Sophie Pietri (Wildenstein Institute, 1994), pp. 21; 29697. cat. Jacques Crevelier, travers lart: Caillebotte, Le soir, June 8, 1894. 5; 41, 58. John House, Impressionism: Paint and Politics (Yale University Press, 2004), pp. Shimbata Yasuhide, ed., Gustave Caillebotte: Impressionist in Modern Paris, exh. Jeanne Bouniort, exh. (Runion des Muses Nationaux, 1994), p. 347. 171, 216. 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. Clive Scott, Street Photography: From Atget to Cartier-Bresson (I. 196; 197, fig. cat. cat. Martial Caillebotte (left) and Gustave Caillebotte (right), before 1895; Cover of the catalog of the first Impressionist exhibition in 1874; Formal Analysis: A Brief Compositional Overview, Famous Paintings About War and Battles Best War Artwork, What the Water Gave Me by Frida Kahlo A Painting Analysis, Henry Ford Hospital (The Flying Bed) by Frida Kahlo A Look. Jean-Marie Baron, Caillebotte: Impressionniste (Herscher, 1994), pp. 4; 58. Look at the building in the background. Juliet Wilson-Bareau, Manet, Monet, la gare Saint-Lazare, trans. [8] Caillebotte reproduces the effect of a camera lens in that the points at the center of the image seem to bulge. Washington, D.C., National Gallery of Art, The New Painting: Impressionism, 18741886, Jan. 17Apr. Caillebotte also painted portraits and figure studies, boating scenes and rural landscapes, and decorative studies of flowers. 8, 1877, pp. 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. 88; 92; 9498; 99; 100; 101; 110; 112; 11622, cat. 72, 73. 7, 1877, p. 2. 47, 56, 57. 6.76; 997. However, what also made it Impressionist was the fact that Gustave Caillebotte painted an everyday scene, which was also part of the Impressionists art style. 1; 12. The painting was featured in the 1980 BBC television series 100 Great Paintings, and Paris Street; Rainy Day plays a prominent role in the 1986 film Ferris Bueller's Day Off. 2, 1977, cat. Art Institute of Chicago, Treasures from the Art Institute of Chicago, selected by James N. Wood, with commentaries by Debra N. Mancoff (Art Institute of Chicago/Hudson Hills, 2000), pp. Paris, Durand-Ruel, Exposition rtrospective doeuvres de G. Caillebotte, June 416, 1894, cat. Jeanne Bouniort, exh. 35 (ill.); Metropolitan Museum of Art, New York, asImpressionism, Fashion, and Modernity, Feb. 26May 27, 2013, cat. Perspective is what gives a three-dimensional feeling to a flat image such as a drawing or a painting. Portland (Ore.) Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., Mar. 308; 309, fig. Gustave Caillebotte's Paris Street; Rainy Day, painted in 1877, is one of the painter's masterpieces and at the center of the Art Institute of Chicago collection. The Floor Scrapers (1875) by Gustave Caillebotte;Gustave Caillebotte, Public domain, via Wikimedia Commons. 7 (ill.). Deliberate cropping is not the only photographic sensibility evident in Paris Street; Rainy Day. The program started around 1853 and lasted to around 1870, although there were continual changes to the rebuilding of Paris for years to come. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. Petra ten-Doesschate Chu, Nineteenth-Century European Art (Prentice-Hall/Abrams, 2003), pp. 20. John Milner, Atelier dartistes: Paris, capital des arts la fin du XIXe sicle, trans. exh. (Fondation de lHermitage/Bibliothque des Arts, 2005), pp. 64, cat. 36, fig. 29, 2013. cat. The umbrellas shield them, in the words of Rose-Marie Hagen, "not just from the rain, but, also it seems, from other passers by". Bernard Denvir, Impressionism: The Painters and the Paintings (Studio Editions, 1991), pp. cat. Jrme Coignard, Caillebotte: Le blues des grands boulevards, Beaux-arts 126 (Sept. 1994), front cover (detail); pp. Gustave Caillebotte was born on August 19, 1848, in Paris, France, and was part of an upper-class family. 25, 1877, p. 3. Alexandre Pothey, Beaux-arts, Le petit parisien, Apr. 1971), p. 18. For a glimpse into fin de sicleParis, look no further than the work of the Impressionists. 47. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), pp. cat. The painting does not present a convivial mood. He tended to use brighter colours and. Below, we look at the subject matter in more depth and explore the formal qualities, all of which have made this one of the major artworks from Impressionism. J. Bouret, Un peintre de notre temps, Art, beaux-arts, littrature, spectacles, May 25, 1951, p. 1 (ill.). (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 25 (ill.); 74; 106; 108; 11013, cat. 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. 10; 676. 675, fig. We will notice her hat and soft veil over her face, a sparkling earring, which is possibly a diamond, her coat is also lined with fur. 17, 1957; Museum of Fine Arts, Boston, Mar. Although it appears as a typical Parisian street scene, there is more to it than what meets the eye. 9, 1877, pp. 9293 (ill.), 143 (ill.). 93 (ill.). 3.2. 3 (ill.), 5859 (detail), 64, 68. (Muse dOrsay/Art Institute of Chicago, 1995), pp. Akihiko Inoue, Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. Paris Street; Rainy Day (1877) by Gustave Caillebotte;Sailko, CC BY 3.0, via Wikimedia Commons. cat. 8, 1877, p. 2. He died on February 21, 1894, reportedly from a stroke. -1 hour (DST end) UTC+1h. 22, 25, 26, 27. Sothebys, New York, La Belle Epoque: Paintings, Drawings and Sculpture, sale cat. xv; xvii, fig. Shimbata Yasuhide, exh. cat. 30; 538. Georges Rivire, Les intransigeants et les impressionnistes: Souvenir du salon libre de 1877, Lartiste, Nov. 1, 1877, p. 302. M. Therese Southgate, About the Cover, JAMA: The Journal of the American Medical Association 232 (Apr. 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. His Paris Street; Rainy Day painting received positive critical acclaim from the famous French journalist and writer, mile Zola, who wrote about in an article, dated for April 1877, Notes parisiennes: Une exposition: les peintres impressionnistes, which was published in the newspaper titled Le Smaphore de Marseille. The scale embraces any viewer, ushering them into its spell. 39. Frdric Chevalier, Les impressionnistes,Lartiste, May 1, 1877, p. 332. 3839, cat. ), Over the previous few years, Caillebotte had watched douard Manet and Edgar Degas invent a new visual language for depicting urban life. Michael Boodro, Art and Fashion: A Fine Romance, Art News 89, 7 (Sept. 1990), p. 126 (ill.). 40-41. Robert Rosenblum, The Nineteenth-Century Franc Revalued, in Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 18001900, exh. 7, 1877, p. 2. (Muse dOrsay/Art Institute of Chicago, 1995), 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. xvii; xviii, fig. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. (Runion des Muses Nationaux, 1994), pp. Historia del impresionismo, Saber ver: Lo contemporneo del arte 20 (Jan.Feb. Henry Plummer, Masters of Light, vol. The painting presents the urban transformation of Paris, that went through sweeping renovations of the city commissioned by Emperor Napoleon III and directed by his prefect of Seine, Baron Georges Haussmann. John Russell Taylor, Exactitude: Hyperrealist Art Today, ed. Martial Caillebotte (left) and Gustave Caillebotte (right), before 1895;Unknown author Unknown author, Public domain, via Wikimedia Commons. Karin Sagner and Max Hollein, eds., in cooperation with Ulrich Pohlmann, Gustave Caillebotte: An Impressionist and Photography, exh. Oil on canvas; 212.2 276.2 cm (83 1/2 108 3/4 in.). Griselda Pollock, Vision and Difference: Feminism, Femininity, and the Histories of Art (Routledge, 2003), pp. These photographic tensions between what was technically faithful yet experientially false fascinated Caillebotte perhaps (who knows?) Still, photography posed an obvious challenge to 19th-century painters. 3.3. (Muse dOrsay/Art Institute of Chicago, 1995), p. 313. James Rondeau, New Art/Old Museum: Contemporary Artists Engaging the Encyclopedia, in Curating Now, ed. 20, 1877, p. 1. 3 and 4 (with drawings superimposed). 2425 (ill.). Karin Sagner, Gustave Caillebotte: Neue Perspektiven des Impressionismus (Himer, 2009), pp. But this current predicament a potential pedestrian collision will play out in seconds. Paris Street; Rainy Day remained 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.

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