It has become one of the masterpieces of the Impressionism art movement. Artist Abstract: Who Was Gustave Caillebotte? 1971), p. 18. What is the maidservant doing, possibly running errands? Caillebotte was fascinated by the transition, and by the way the city could be read as a kind of palimpsest, one historical layer on top of another. 4 (detail); pp. 9293 (ill.), 143 (ill.). 47, 56, 57. 5. (Portland Art Association, 1956), pp. Look at the building in the background. (Runion des Muses Nationaux/Yale University Press, 1998), pp. cat. Isabelle Taudire, exh. Paris Street, Rainy Day. Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. Inscribed at lower left: G. Caillebotte. No Here is Paris Street: A Rainy Dayby Gustave Caillebote. Patricia Failing, The Objects of Their Affection, Art News 81, 9 (Nov. 1982), p. 124 (ill.). 12, 1877, p. 1. 8; 98; 99. 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. Paris Street; Rainy Day | The Art Institute of Chicago 2 (detail); 4; 19; 55; 5657, cat. 6. 2. 20, 1974), pp. Yet, these lines converge and give the Marie Berhaut, Gustave Caillebotte: Catalogue raisonn des peintures et pastels, with assistance by Sophie Pietri (Wildenstein Institute, 1994), pp. Kathleen Adler, Unknown Impressionists (Phaidon, 1988), pp. Art Institute of Chicago, Pocket Guide to the Art Institute of Chicago (Art Institute of Chicago, 1983), pp. Gloria Groom, Floral Still Lifes, in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. Anonymous [possibly George Lafenestre], Le jour et la nuit, Le moniteur universel, Apr. Stephanie L. Herdrich, Hassam in Paris, 18861889, in H. Barbara Weinberg, Childe Hassam: American Impressionist, with contributions by Elizabeth E. Barker et al., exh. 12; 1415, pl. 7, 1877, p. 2. Karin Sagner, Gustave Caillebotte: An Impressionist and Photography, in Gustave Caillebotte: An Impressionist and Photography, ed. Behind him are two other gentlemen, both looking in different directions, without interaction, quietly walking together, they appear to be heading in the same direction as the man in front of them. Be aware that choosing a non-stop flight can sometimes be more expensive while saving you time. Mary Morton, Caillebotte in Contemporary Criticism, 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. cat. The Art Institute of Chicago, Charles H. and Mary F. S. Worcester Collection, 1964.336. Jean Chardeau, Les dessins de Caillebotte (Herm, 1989), pp. Marie-Amlie Anquetil, Dans les alles dune oeuvre, Caillebotte, Dossier de lart 20 (Sept. 1994), pp. 1877, cat. J. Kirk T. Varnedoe, Caillebottes Pont de lEurope, in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. Receive our Weekly Newsletter. 6, 21, 69 (ill.), 325. (Pavillon de lArsenal, 1991), p. 313. 5; 23. The building that is directly opposite our gaze in the distance and in the left half of the composition has a sign that says PHARMACIE. Want to advertise with us? 63. Paris, a Rainy Day, 1877 - Gustave Caillebotte - WikiArt.org 19, 1877, p. 1. 1. Paris, 6, rue le Peletier, 3e exposition de peinture[third Impressionist exhibition], Apr. 7, 1877, p. 2. (Muse dOrsay/Art Institute of Chicago, 1995), p. 52. 236. (E. Moreau, 1894), p. 5, cat. Self-portrait (c. 1892) by Gustave Caillebotte;Gustave Caillebotte, Public domain, via Wikimedia Commons. Ph. 134; 136, fig. 93 (ill.); 18995. Color and light in Gustave Caillebottes Paris Street; Rainy Day (1877);Gustave Caillebotte, Public domain, via Wikimedia Commons. Photo editing and research by Kelsey Ables. 25 (ill.); Brooklyn Museum, Feb. 12Apr. Caillebotte's realistic style and contemporary influences lend themselves equally to this technique, as they enabled the artist to pair his characteristically precise strokes with looser, Impressionist brushwork. 10, 1995. The most obvious of 19th-century photographys deficits was its absence of color. But as you stand in front of this magnificent 1877 canvas by Gustave Caillebotte, you begin to hear the click of footfall on cobblestones and feel the spit of light rain. In 1877, he again exhibited his work in their annual exhibition, with Paris Street; Rainy Dayamong its most celebrated highlights. The painting is symmetrical. The real-life location of Gustave Caillebottes Paris Street; Rainy Day (1877) painting, Place de Dublin;Thomon, CC BY-SA 4.0, via Wikimedia Commons. They are dressed in the height of contemporary Parisian fashion. 43, 45. The painting is populated by multiple characters placed in a zigzag pattern, which represent the range of social classes that form the urban landscape. Gottfried Boehm (Fink, 1985), pp. The silence at first is uncanny. Corrections? Impressionist Painter Captures Poetic Scenes of Rain-Swept Streets, The Story Behind Renoirs Bal du moulin de la Galette, The Story Behind Renoirs Impressionist Masterpiece Luncheon of the Boating Party, Art Institute of Chicago Makes Thousands of Hi-Res Images Available for Free. Richard R. Brettell, A View from Portland: 110 Years of Modern French Art in Portland, in Paris to Portland: Impressionist and Post-Impressionist Masters in Portland Collections, exh. 11 (ill.). 46; 47, fig. 44 (detail), 4546, 47 (ill.), 117. 28; 29, fig. . 22, 25, 26, 27. | Widewalls In 1877, the French artist Gustave Caillebotte made this painting, perfectly embodying the swiping modernity of everyday life of the 19th century Paris. cat. Mark Stevens, When Impressionism Was New, Newsweek, Feb. 3, 1986, p. 71 (ill.). In many ways, Caillebottes frozen poetry of the Parisian bourgeoisie prefigures Georges Seurats luminous Sunday on La Grande Jatte1884, painted less than a decade later. Next time change is highlighted. 184; 185 (detail); 188, cat. 1213 (ill.). (Runion des Muses Nationaux, 1994), pp. 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. Paris Street: Rainy Day demonstrates: (the loneliness of the city, the new construction of the streets and buildings, the artist's knowledge of perspective) all of the previous answers Who repeatedly painted studies of the mountain he had seen throughout his childhood and later observed from his studio window? The same purpose is seen in the overall clarity of the image. About 9 feet wide and 7 feet high, it shows a. Gustave Caillebotte, Paris Street; Rainy Day (detail), 1877 (Photo: The Art Institute of Chicago Public Domain). 7, 19, 277. 10, 1877, p. 2. Historia del impresionismo, Saber ver: Lo contemporneo del arte 20 (Jan.Feb. The background of Gustave Caillebottes Paris Street; Rainy Day (1877);Gustave Caillebotte, Public domain, via Wikimedia Commons. It is currently owned by the Art Institute of Chicago. In art, it is a system of representing the way that objects appear to get smaller and closer together the farther away they are from the viewer. 43 (ill.), 44. (Muse dOrsay/Art Institute of Chicago, 1995), p. 309. cat. diss., Case Western Reserve University, 2000), pp. cat. cat. 77 (ill.). 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. 3.3. Sandra Gianfreda, exh. Design and development by Junne Alcantara. 35 (ill.); Metropolitan Museum of Art, New York, asImpressionism, Fashion, and Modernity, Feb. 26May 27, 2013, cat. 1980), front cover (detail); pp. 1979), p. 15. We only see half of his figure, the rest is cut off by the border of the painting, however, this gives even more of an impression of how a photograph would look; a fleeting moment in time, seemingly nothing special. 9697, fig. (Runion des Muses Nationaux, 1994), pp. Gustave Caillebotte Linear Perspective Examples - 196 Words | Bartleby Dayton (Ohio) Art Museum, French Paintings, 17891929: From the Collection of Walter P. Chrysler Jr., exh. cat. 21; 29697. Malcolm Park, Three Street Drawings by Gustave Caillebotte, Burlington Magazine 152, 1289 (Aug. 2010), pp. 15, 183, 204 (ill.). Updated on 05/05/19. When his talent has softened a little more, Mr. Caillebotte will certainly be one of the boldest in the group. xvii; xviii, fig. cat. ARTH101: The Element of Space | Saylor Academy 37. John Milner, The Studios of Paris: The Capital of Art in the Late Nineteenth Century (Yale University Press, 1988), pp. These are namely, the urban setting, the development of photography and how it became an influencing art medium, and Caillebotte as an Impressionist. In Paris Street; Rainy Day we see the facades from the transformed buildings, which have also been nicknamed the Haussmannization of Paris. 7273 (ill.). The woman has her right (our left) arm hooked into the mans left (our right) arm and they are sharing an umbrella, held in the mans left hand (our right). 151; 153; 160; 161; 16364; 166; 167; 169; 170; 171; 172; fig. 2. fig. A detail of Gustave Caillebottes Paris Street; Rainy Day (1877);Gustave Caillebotte, Public domain, via Wikimedia Commons. cat. The scale embraces any viewer, ushering them into its spell. Karin Sagner, Gustave Caillebotte: Neue Perspektiven des Impressionismus (Himer, 2009), pp. Cropped just below the knee, they are painted almost life size. 124, 140 (ill.). 3839, cat. [1] 1877), p. 70. The artist carefully uses texture gradient with linear perspective to enhance depth sensation. Caillebotte painted this scene several years after the large reconstruction of Paris, which was led and commissioned by the then Emperor Napoleon III and Georges-Eugne Haussmann, who was the prefect of the Seine and director of the rebuilding of Paris. The ambitious painting represents the height of Caillebottes artistic achievement, as the artist would never again attempt a multi-figure composition on this scale. For a glimpse into fin de sicleParis, look no further than the work of the Impressionists. The quick and loose brushwork of Claude Monet or Pierre-Auguste Renoir emphasized motion and the fleeting effects of light on the surface. Martha Kapos, ed., The Impressionists: A Retrospective (Hugh Lauter Levin/Macmillan, 1991), p. 119, pl. Colin B. Bailey, Renoir, Impressionism, and Full-Length Painting, exh. Summary Of Paris Street: Rainy Day By Gustave Caillebotte Washington, D.C., National Gallery of Art, Gustave Caillebotte: The Painters Eye, June 28Oct. MaryAnne Stevens, ed., Alfred Sisley, exh. cat. Karin Sagner and Max Hollein, eds., in cooperation with Ulrich Pohlmann, Gustave Caillebotte: An Impressionist and Photography, exh. Object information is a work in progress and may be updated as new research findings emerge. Richard R. Brettell, Modern Art, 18511929: Capitalism and Representation (Oxford University Press, 1999), p. 54, fig. 27May 27, 1956; San Francisco, California Palace of the Legion of Honor, opened June 11, 1956; Los Angeles County Museum, July 27Aug. cat. Robert Rosenblum, The 19th-Century Franc Revalued, Art News 68, 4 (Summer 1969), front cover (detail); pp. Linear and Aerial Perspective - praxis The view shown is spacious, and details a broad view of a number of streets. According to the Art Institute of Chicago, where this painting is currently housed, Caillebotte grew up when this district was reported to be a relatively unsettled hill. Cat. 2 Paris Street; Rainy Day, 1877 Roger Ballu, Lexposition des peintres impressionnistes, Les beaux-arts illustrs, Apr. 133; 166 (ill.); 167 (detail). William H. Gerdts, Impressionism in the United States, in World Impressionism: The International Movement, 18601920, ed. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Muse dOrsay/Yale University Press, 2012), p. 291, cat. 1; 33 (detail). Gustave Caillebotte, Paris Street; Rainy Day, 1877 (Photo: The Art Institute of Chicago Public Domain). 13. cat. 8; 70; 78, pl. 14, 1986, not in cat. Paris Street, Rainy Day, 1877 - Gustave Caillebotte - WikiArt.org 28 (ill). In this monumental urban view, which measures almost seven by ten feet and is considered the artists masterpiece, Caillebotte strikingly captured a vast, stark modernity, complete with life-size figures strolling in the foreground and wearing the latest fashions. He was the youngest and one of the most active members of the group. (National Gallery of Art, Washington, D.C./Yale University Press, 1998), pp. Anne Distel, Chronologie, in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 18481894, trans. 47, cat. 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. Jeanne Bouniort, exh. The most common types of perspective are one-point two-point and three-point perspective. Paris, Galeries Nationales du Grand Palais, Gustave Caillebotte, 18481894, Sept. 16, 1994Jan. This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris. Lecturers Choice, Bulletin of the Art Institute of Chicago 67, 3 (MayJune 1973), p. 11. If we look towards the left foreground, there is more of an open space created by the empty street. Anne Distel, The Birth of an Impressionist, in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. 3 (ill.), 5859 (detail), 64, 68. The figures appear to have walked into the painting, as though Caillebotte was taking a snapshot of people going about their day; in fact, he spent months carefully placing them within the pictorial space. Jeanne Bouniort, exh. 1877, Charles H. and Mary F. S. Worcester Collection. Napoleon sought to open the city and give it more air and light. While this style has come to embody Impressionism, not all artists associated with the movement took this approach. 36, 40, 46. The perspective he used makes the viewer feel as if they are walking on the street, taking in all the moment has to offer. Gloria Groom, douard Vuillard: Painter-Decorator; Patrons and Projects, 18921912 (Yale University Press, 1993), p. 171, pl. Bertall [Charles-Albert dArnoux], Exposition des impressionnistes, Paris-Journal, Apr. Erik Mrstad, Christian Krohg i Skagen: Et Norsk Perspektiv, in Christian Krohg og Skagen, exh. xix. cat. Marco Goldin, exh. 48; 11923; 124; 12526; 130; 132; 244; 245; 246. cat. Shimbata Yasuhide, exh. He tended to use brighter colours and In fact, the work of loyal, long-time Impressionist Gustave Caillebotte borders on Realism, with Paris Street; Rainy Day serving as a shining example. 6.76; 997. John Russell Taylor, Exactitude: Hyperrealist Art Today, ed. M., Arts: Les impressionnistes, Revue des ides nouvelles 11 (May 1, 1877), p. 167. 244; 267, n. 14; 248; 249. cat. Marie Berhaut, Caillebotte: Sa vie et son oeuvre; Catalogue raisonn des peintures et pastels (Bibliothque des Arts/Fondation Wildenstein, 1978), pp. Marie Berhaut, Caillebotte: The Impressionist, trans. 7677 (ill.). Ellen Williams, Impressions of Paris, Guggenheim Magazine (Fall 1996), pp. Paris Street; Rainy Day is a famous Paris street painting, and one of the more famous rainy day paintings, that we will discuss in more detail below. 2, 2008, cat. (Degass dynamic street composition, Place de la Concorde, from two years earlier, likely influenced Paris Street, Rainy Day.). Pier Giovanni Castagnoli, Barbara Cinelli, and Maria Mimita Lamberti, De Nittis e la pittura della vita moderna in Europa (Galleria Civica dArte Moderna e Contemporanea, 2002), p. 166. ric Darragon, Gustave Caillebotte, une nouvelle peinture, in Serge Lemoine et al., Dans lintimit des frres Caillebotte: Peintre et photographe, exh. (Wildenstein, 1966), p. 9. 7; 28; 34; 36; 46; 50. (Runion des Muses Nationaux, 1994), p. 353. 196; 197, fig. 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. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 44. Marco Goldin, ed., Turner e gli impressionisti: La grande storia del paesaggio moderno in Europa, exh. 6, 1986, cat. 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. Paris Street; Rainy Day shows the merging of the old and the new city: the couple and the male in the foreground walk on a narrow sidewalk that represents the old city, while a newly constructed building in the backdrop marks the emergence of the new city. 17; 23, fig. cat. 3. cat. THE ROWS AROUND THE WINDOWS ARE - PARALLEL BUT THEY CONVERGE IN DISTANCE. It is primarily evident in the way in which the artist placed his subjects within the compositionespecially the figure on the far right of the painting, who, with half of his body outside of the frame, appears to be walking into a snapshot. What Makes Gustave Caillebotte's Paris Street Rainy Day So Special? 165, 166, 168. 43, fig. 10; 676. Online Scholarly Catalogues at the Art Institute of Chicago cat. cat. T. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and His Followers (Knopf, 1984), pp. Art Institute of Chicago, The Art of the Edge: European Frames, 13001900, Oct. 17Dec. J. Kirk T. Varnedoe, Caillebotte: An Evolving Perspective, 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. Caillebotte also sought to evoke the way in which a camera focuses on certain objectsnamely, blurred in the background, mostly clear in the foreground, and crisp in the middle. About 9 feet wide and 7 feet high, it shows a complicated street intersection, or carrefour, in Paris. 160. xv; xvii, fig. 25May 22, 1960, cat. 20, 1877, p. 1. cat. Baron Schop [Thodore de Banville], Choses et autres, Le national, Apr. 12. There also appears to be a general overarching gray tone to the composition, further enhancing the compositions ambiance. Rodolphe Rapetti, Paris, vu dune fentre, in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 18481894, trans. 12; 1819 (detail); 3031, pl. Alfred Werner, Joys Forever?, Art and Artists 11, 132 (Mar. 25, fig. Juliet Wilson-Bareau, Manet, Monet, and the Gare Saint-Lazare, exh. Russell Ash, ed., Impressionists Seasons (Pavilion, 1995), pp. Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 18001900, exh. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 268. Griselda Pollock, Vision and Difference: Feminism, Femininity, and the Histories of Art (Routledge, 2003), pp. But he wanted to demonstrate its deficits, too to show what painting could do that the camera could not. 4 (ill.); Fort Worth, Tex., Kimbell Art Museum, Nov. 8, 2015Feb. cat. Diana Imber (International Art Book, 1968), pp. Similarly, some of the figures in the background are obstructednot by the edge of the canvas, however, but by passersby, umbrellas, and even a horse. Galerie Beaux-Arts, Rtrospective Gustave Caillebotte, au profit du Muse de Rennes, exh. If we look at Paris Street; Rainy Day, we see a 19th-century urban cobbled-street scene, there are people from different social classes, all walking in different directions, going about their business; there is almost no interaction between anyone. Norma Broude, A World in Light: France and the International Impressionist Movement, 18601920, in World Impressionism: The International Movement, 18601920, ed. 38 (ill.). (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. Anthea Callen, Techniques of the Impressionists (New Burlington, 1987), pp. 9, 54 (ill.). Caillebotte continued to make changes on the original canvas, like adding new characters, the two women walking away in the background. Sebastian Smee is a Pulitzer Prize-winning art critic at The Washington Post and the author of The Art of Rivalry: Four Friendships, Betrayals and Breakthroughs in Modern Art." Shimbata Yasuhide, exh. 9, 1877, p. 3. 44, fig. Art Institute of Chicago, The Art Institute of Chicago: The Essential Guide, selected by James N. Wood and Teri J. Edelstein, entries written and compiled by Sally Ruth May (Art Institute of Chicago, 1993), p. 154 (ill.). 12; 19. 60, 66. 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. 8889 (ill.). Part of the fun is trying to figure out why.. [8] Caillebotte reproduces the effect of a camera lens in that the points at the center of the image seem to bulge. The space is simply too tight. Jeanne Bouniort, exh. 1, Twentieth-Century Pioneers, Architecture and Urbanism (E ando Yu, 2003), pp. 18 (ill.). cat. (Muse dOrsay/Skira Flammarion, 2012), p. 298, cat. Art Institute, Chicago. A. Descubes [Amde Descubes-Desgueraines], Lexposition des impressionnistes, Gazette des lettres, des sciences et des arts 1, 12 (Apr. In 1873, however, heentered thecole des Beaux-Arts (School of Fine Arts), and the following year, he befriended members of the Socit Anonyme Cooprative des Artistes Peintres, Sculpteurs, Graveurs (Cooperative and Anonymous Association of Painters, Sculptors, and Engravers), a band of Paris-based painters who would later be known as the Impressionists. Washington, D.C., National Gallery of Art, The New Painting: Impressionism, 18741886, Jan. 17Apr. Examining the various angles and placings of the buildings, the respective horizon line, and orthogonal lines, it was believed he also utilized a set of calipers during his process. 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. On the other hand, its asymmetrical composition, unusually cropped forms, rain-washed mood, and candidly contemporary subject stimulated a more radical sensibility. J. Patrice Marandel, New Installation of Earlier Paintings, Bulletin of the Art Institute of Chicago 73, 1 (Jan.Feb. 5. 1988), p. 48 (ill.). (Runion des Muses Nationaux, 1994), pp. Along with the friendships he had established with artists like Edgar Degas and Pierre-Auguste Renoir, this prompted him to continue working with the Impressionists. (Linea dOmbra, 2004), p. 79. 392, fig. Elizabeth Benjamin, All the Discomforts of Home: Caillebotte and the Nineteenth-Century Bourgeois Interior, 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. The painting "Paris Street, Rainy Day" (1877) by Gustave Caillebotte (source: Google Art Project). 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. (Folkwang/Steidl, 2010), pp. (Museum of Fine Arts, Houston, 1976), pp. Nearly 65 years later, Paris Street; Rainy Day remains a highlight of the museum's collection. cat. Name: "Paris Street, Rainy Day" (1877) French: Rue de Paris, temps de pluie (La Place de l'Europe, temps de pluie) Artist: Gustave Caillebotte (1848-94) Medium: Oil painting on canvas Type: Genre painting Movement: Impressionism Location: Art Institute of Chicago Created by Beth Harris and Steven Zucker. cat. 93 (ill.). 2; 4; 11; 18; 80; 84; 88; 89, pl. 1. Specifically, it is set in the Carrefour de Moscou (known today as the Place de Dublin) in the city's 8th arrondissement, or district. Though the scene looks like a snapshot, the composition was perfectly planned. 5; 17, fig. Warning: This graphic requires JavaScript. Hartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. 46, 47. It was painted facing the vertical streets, namely Rue de Moscou, Rue Clapeyron, Rue de Turin, and the horizontal, intersecting, street, Rue de Saint-Ptersbourg. Gustave Caillebotte. 'Paris Street: Rainy Day'? question When shes not writing, you can find Kelly wandering around Paris, whether shes leading a tour (as a guide, she has been interviewed by BBC World News America and. There are other areas of color as well; for example, the umbrellas have been described as lavender-hued and the spokes on the carriage wheels are a dark red that almost blends in with the color of the street it stands on. 57 (ill.); 282. Caillebotte has certainly captured a snapshot view of a district in Paris, and now, over a century later, we bear witness to a time of change, expansion, reorder, and quite simply: just another rainy day in the City of Light.
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