Inscribed at lower left: G. Caillebotte. L. G., “Le salon des ‘impressionnistes,’” La presse, Apr. cat. 40, 41, 45, 46–47, 48, 49, 55. 536, fig. 15, 29. George T. M. Shackelford, “Man in the Middle,” 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. 10, 1995. 76–77 (ill.). 99; 298. Gloria Groom, exh. It seems as though the people are the cat. cat. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. 63. cat. Jean des Cars and Pierre Pinon, Paris-Haussmann: “Le pari d’Haussmann,” exh. 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. 23, 1877, p. 392. 171, 216. (Musée d’Orsay/Art Institute of Chicago, 1995), front cover (detail); p. 11. 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. 192; 193, fig. The line of this work of art is interesting. Fichier:Gustave Caillebotte - Paris Street, Rainy Day - 1964.336 - Art Institute of Chicago.jpg (Hatje Cantz, 2008), p. 56. Bertall [Charles-Albert d’Arnoux], “Exposition des impressionnistes,” Paris-Journal, Apr. Ernest Fillonneau, “Les impressionnistes,” Moniteur des arts, Apr. 6. 900–903 (detail); 904; 989, 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 Painter’s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), p. 154. 43, 45. 14, 2016. Michelle Facos, An Introduction to Nineteenth-Century Art (Routledge, 2011), pp. Jeanne Bouniort, exh. cat. 14, 1877, p. 147. xii; 92, fig. https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/574_anchor; Jill Shaw, Framing Life, cat. 38 (ill.); Fine Arts Museums of San Francisco and M. H. de Young Memorial Museum, Apr. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 160. 99–101 (ill.). E. Lepelletier [Edmond-Adolphe de Bouhélier], “Les impressionnistes,” Le radical, Apr. 43, fig. Petra ten-Doesschate Chu, Nineteenth-Century European Art (Prentice-Hall/Abrams, 2003), pp. Anne Distel, “Charles Deudon (1832–1914), collectionneur,” Revue de l’art 86 (1989), p. 61, n. 16. Rainy day" became part of the collection of the art Institute of Chicago until the mid-twentieth century. John Milner, Atelier d’artistes: Paris, capital des arts à la fin du XIXe siècle, trans. Baron Schop [Théodore de Banville], “Choses et autres,” Le national, Apr. 25, 1877, p. 3. 392, fig. “Lecturer’s Choice,” Bulletin of the Art Institute of Chicago 67, 3 (May–June 1973), p. 11. Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. Berlin, Alte Nationalgalerie, Gustave Caillebotte: Painter and Patron of Impressionism, April 26 - October 8 2019. 30, 2011, cat. 8, 1877,pp. ), 84 (detail), 85 (detail), 86 (detail), 87 (detail). Paris, Galeries Nationales du Grand Palais, Gustave Caillebotte, 1848–1894, Sept. 16, 1994–Jan. https://api.artic.edu/api/v1/artworks/20684/manifest.json, A Thousand and One Swabs: The Transformation of “Paris Street; Rainy Day”, https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/574_anchor. Mary Morton, with Camille Mathieu, Galina Olmsted, and George T. M. Shackelford, “Catalog,” 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. René Huyghe, La relève du réel: La peinture française au XIXe siècle; Impressionisme, symbolisme (Flammarion, 1974), p. 154, no. 9, 1995, cat. Peter Galassi, “Caillebotte’s Method,” 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. “Paris Street, Rainy Day,” which Caillebotte plotted for months, hangs at the Art Institute of Chicago, where it blasts away the company. cat. “Summer Gallery Talks,” Calendar of the Art Institute of Chicago 65, 3 (May–Aug. cat. 15, 183, 204 (ill.). Dennis Paul Costanzo, “Cityscape and the Transformation of Paris during the Second Empire” (Ph.D. Robert Rosenblum, “The 19th-Century Franc Revalued,” Art News 68, 4 (Summer 1969), front cover (detail); pp. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 291. Christopher Lloyd, “Les dessins de Gustave Caillebotte,” in Juliane Cosandier, Caillebotte: Au coeur de l’impressionnisme, assisted by Sylvie Wuhrmann, exh. 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. Mark Stevens, “When Impressionism Was New,” Newsweek, Feb. 3, 1986, p. 71 (ill.). Robert Rosenblum, “Gustave Caillebotte: The 1970s and the 1870s,” Artforum 15, 7 (Mar. However, when it was painted in 1877, it constituted a bold look at a swiftly modernizing city. “Exposition des impressionnistes: 6, rue le Peletier, 6,” La petite république française, Apr. Russell Ash, ed., Impressionists’ Seasons (Pavilion, 1995), pp. cat. 93 (ill.); Art Institute of Chicago, June 26–Sept. 48; 119–23; 124; 125–26; 130; 132; 244; 245; 246. cat. Marco Goldin, exh. 2. 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. cat. 13, 14. Marie Berhaut, Caillebotte: Sa vie et son oeuvre; Catalogue raisonné des peintures et pastels (Bibliothèque des Arts/Fondation Wildenstein, 1978), pp. 150; 151, fig. Gottfried Boehm (Fink, 1985), pp. 124, 127. Akihiko Inoue, Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. 8–9, 54 (ill.). André Dombrowski, “History, Memory, and Instantaneity in Edgar Degas’s Place de la Concorde,” Art Bulletin 93, 2 (June 2011), p. 199, fig. cat. 7, 1877, p. 2. 47, 48 (ill.). So, it seems that Caillebotte wanted to reflect a snapshot of reality with this painting. Paris Street; Rainy Day (1877) was created during a pivotal time in the artist’s career. (Schirn Kunsthalle Frankfurt/Hirmer, 2012), pp. 165, 166, 168. 1–2. diss., Case Western Reserve University, 2000), pp. Marie-Amélie Anquetil, “Dans les allées d’une oeuvre,” Caillebotte, Dossier de l’art 20 (Sept. 1994), pp. 30; 538. cat. FREE Returns All the time. 2 (detail); 4; 19; 55; 56–57, cat. Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. Patty Lurie, Guide to Impressionist Paris (Lilburne/Parigramme, 1996), pp. James Rondeau, “New Art/Old Museum: Contemporary Artists Engaging the Encyclopedia,” in Curating Now, ed. 7, 1877, p. 2. Aileen Ribeiro, “Gustave Caillebotte, Paris Street; Rainy Day,” in Impressionism, Fashion, and Modernity, ed. cat. In this monumental urban view, which measures almost seven by ten feet and is considered the artist’s masterpiece, Caillebotte strikingly captured a vast, stark modernity, complete with life-size figures strolling in the foreground and wearing the latest fashions. It turns out we were facing the wrong way last time. Besides, recommend you to view other painting artworks from Gustave Caillebotte. Michael F. Zimmermann, Les mondes de Seurat: Son oeuvre et le débat artistique de son temps (Fonds Mercator, 1991), p. 126, fig. 22, 1877, p. 3. (Minneapolis Institute of Arts, 1969), front and back covers (details); pp. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. (Hatje Cantz, 2008), p. 112. Renaud Temperini, La peinture française, under the direction of Pierre Rosenberg, vol. Patricia Failing, “The Objects of Their Affection,” Art News 81, 9 (Nov. 1982), p. 124 (ill.). For example, Paris Street: Rainy Weather (1876-1877) shows a couple walking down a Parisian street on a dreary day. Julia Sagraves, “La rue,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. 15; 154. Gloria Groom, “Les espaces de la modernité,” in L’impressionnisme et la mode, ed. 46; 47, fig. 25, fig. 163; 164, pl. Norma Broude (Rutgers University Press, 2002), pp. cat. Caillebotte also painted portraits and figure studies, boating scenes and rural landscapes, and decorative studies of flowers. (Schirn Kunsthalle Frankfurt/Hirmer, 2012), p. 18, fig. 78 (ill.); Seattle Art Museum, Apr. cat. cat. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), p. 291, cat. cat. Albert Boime, Art and the French Commune: Imagining Paris after War and Revolution, Nineteenth-Century Art, Culture, and Society (Princeton University Press, 1995), pp. Kirk Varnedoe, “Late Recognition for One of the Original Impressionists,” Chronicle of Higher Education, Feb. 3, 1988, p. B27 (ill.). 10 (ill.), 122 (ill.). 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. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 313. 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. 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. 196–97. (Portland Museum of Art, 2006), pp. 3. 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), p. 166. Kirk Varnedoe, “Les dessins de Gustave Caillebotte,” in Jean Chardeau, Les dessins de Caillebotte (Hermé, 1989), p. 7. J. Patrice Marandel, “New Installation of Earlier Paintings,” Bulletin of the Art Institute of Chicago 73, 1 (Jan.–Feb. Anne Distel, “Gustave Caillebotte, peintre, mécène et collectionneur,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Malcolm Park, “Three Street Drawings by Gustave Caillebotte,” Burlington Magazine 152, 1289 (Aug. 2010), pp. Chicago, United States Title: Paris Street; Rainy Day Creator: Gustave Caillebotte (French, 1848–1894) Date Created: 1877 Physical Dimensions: 212.2 × 276.2 cm (83 1/2 × 108 ¾ in.) (Musée d’Orsay/Art Institute of Chicago, 1995), p. 52. Paul Sébillot, “Exposition des impressionnistes,” Le bien public, Apr. Jeanne Bouniort, exh. 8; 70; 78, pl. 168; 169, fig. Bernhard Geyer, Scheinwelten: Die Geschichte der Perspektive (E. A. Seemann, 1994), pp. cat. 20 (ill.) 2. cat. Norma Broude, “A World in Light: France and the International Impressionist Movement, 1860–1920,” in World Impressionism: The International Movement, 1860–1920, ed. Alfred Werner, “Joys Forever?,” Art and Artists 11, 132 (Mar. 4.7. A world-famous icon of the Art Institute’s celebrated Impressionist collection, Gustave Caillebotte’s Paris Street; Rainy Day returns to the galleries this May. 1; 33 (detail). 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. Henri Perruchot, “Scandale au Luxembourg,” L’oeil 9 (Sept. 1955), pp. (Museum of Fine Arts, Houston, 1976), pp. 120, 181, 208, 220. 1, Twentieth-Century Pioneers, Architecture and Urbanism (E ando Yu, 2003), pp. Gloria Groom, exh. Paris Street; Rainy Day (1877) by Gustave Caillebotte. 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. Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. Jeanne Bouniort, exh. Éric Darragon, “Gustave Caillebotte, une nouvelle peinture,” in Serge Lemoine et al., Dans l’intimité des frères Caillebotte: Peintre et photographe, exh. Steve Edwards, Art and Its Histories: A Reader (Yale University Press/Open University, 1999), pp. cat. 1877), p. 70. (Portland Art Association, 1956), p. 47. Norma Broude (Rutgers University Press, 2002), pp. Only 10 left in stock - order soon. 69, 85 (ill.). Robert Boardingham, Impressionist Masterpieces in American Museums (Hugh Lauter Levin, 1996), pp. 11. 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. 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. Caroline Mathieu, “Eugène Haussmann und das Neue Paris,” in Die Eroberung der Strasse: Von Monet bis Grosz, ed. 20; 22–23, fig. 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. The painting’s highly crafted surface, rigorous perspective, and grand scale pleased Parisian audiences accustomed to the academic aesthetic of the official Salon. (Réunion des Musées Nationaux, 1994), pp. (Réunion des Musées Nationaux, 1994), pp. 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. 78 (ill.). 20, 1974), pp. (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]. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 268. 6. At nearly nine feet wide, the painting’s foreground figures are life-size and the deep perspective invites you to step into the frame. 35 (ill.). cat. Marie-Amélie Anquetil, “Caillebotte: Peintre et cinéaste,” Caillebotte, Dossier de l’art 20 (Sept. 1994), pp. cat. 96–97, fig. Paris, Galerie Beaux-Arts, Rétrospective Gustave Caillebotte, May 25–July 25, 1951, cat. 25–May 22, 1960, cat. (Réunion des Musées Nationaux, 1994), p. 303. 43 (ill.), 44. 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. J. Kirk T. Varnedoe, “Caillebotte’s Pont de l’Europe,” in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. (Réunion des Musées Nationaux, 1994), pp. Paris Street Rainy Day is an oil painting produced in 1877 by the French painter Gustave Caillebotte. “Historia del impresionismo,” Saber ver: Lo contemporáneo del arte 20 (Jan.–Feb. cat. (Portland Art Museum, 2003), p. 30, fig. 216 (ill.), 286. Paris, Durand-Ruel, Exposition rétrospective d’oeuvres de G. Caillebotte, June 4–16, 1894, cat. 26. Traductions en contexte de "Paris Street; Rainy Day" en anglais-français avec Reverso Context : cat. Marie Berhaut, “Gustave Caillebotte et le réalisme impressionniste,” L’oeil 268 (Nov. 1977), front cover (detail); pp. Open today 10–11 a.m. members | 11 a.m.–6 p.m. public. 24; 67; 79. Richard R. Brettell, “Camille Pissarro and Urban View Painting: An Introduction,” in Richard R. Brettell and Joachim Pissarro, The Impressionists and the City: Pissarro’s Series Paintings, ed. 25 (ill.); 74; 106; 108; 110–13, cat. cat. cat. 12, 1877, p. 1. Discover this and many more stories in Museio, our open-source project to collect and organize all audio and video stories about art. cat. 20, 21 (ill.). Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 27–May 27, 1956; San Francisco, California Palace of the Legion of Honor, opened June 11, 1956; Los Angeles County Museum, July 27–Aug. Rodolphe Rapetti, “Gustave Caillebotte e la Senna,” in Monet la Senna le ninfee: Il grande fiume e il nuovo secolo, ed. 42 (ill.), 43, 46. 36; 37; 38, n. 1. Art Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), pp. 35. Patrick Shaw Cable, “Caillebotte and Modern Realist Concerns during the First Impressionist Exhibitions,” Excavatio 17, 1–2 (2002), pp. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), p. 86. 2. cat. cat. Caillebotte was an active member of the Impressionist movement, even though he painted in a more realistic style than other members of the group. Shimbata Yasuhide, ed., Gustave Caillebotte: Impressionist in Modern Paris, exh. Shimbata Yasuhide, exh. 78; 122, cat. John Maxon, “Place de l’Europe on a Rainy Day,” Calendar of the Art Institute of Chicago 59, 3 (May 1965), pp. 7 (ill.). 126–27, cat. 93 (ill.). Robyn Roslak, Neo-Impressionism and Anarchism in Fin-de-Siècle France: Painting, Politics and Landscape (Ashgate, 2007), pp. cat. 47. 5 (ill.); 60. 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. (Fondation de l’Hermitage/Bibliothèque des Arts, 2005), pp. (Fine Arts Museums of San Francisco, 1986), pp. 62, pl. 37; 44. Ph. 75, 77. 92–93 (ill.), 143 (ill.). Maurice Sérullaz, Les peintres impressionnistes (Pierre Tisné, 1959), p. 99. 25 (ill.); Brooklyn Museum, Feb. 12–Apr. 217, n 44; 235; 247. 1987), p. 3 (ill.). cat. 151; 153; 160; 161; 163–64; 166; 167; 169; 170; 171; 172; fig. (Metropolitan Museum of Art/Yale University Press, 2004), pp. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. Kathleen Adler, Unknown Impressionists (Phaidon, 1988), pp. 52 (ill.); 249; 261. Catalogue de la 3e exposition de peinture, exh. (Skagens Museum/Lillehammer Kunstmuseum, 2004), pp. 51, 54, 56, 60. Gloria Groom, ed., Impressionism, Fashion, and Modernity, exh. This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris. 22, 25, 26, 27. This painting was regarded as one of the best-known works of Gustave Caillebotte. (E. Capiomont et V. Renault, 1877), p. 3, cat. Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 1800–1900, exh. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 64, cat. As the artist lived and matured in his work all around him were felt the upheavals of Baron von Haussmann's urban regeneration of Paris. 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.). 14–15. 77, 79 (ill.). Art Institute of Chicago, The Art Institute of Chicago Annual Report, 1964–65 (Art Institute of Chicago, 1965), pp. Kirk Varnedoe, “Odd Man In: A Brief Historiography of Caillebotte’s Changing Roles in the History of Art,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. 14, 1986, not in cat. 128–129 (ill.); 130; 136–139; 146; 148; 152–156, cat. 9, 54 (ill.). 324; 326–27, fig. Anthea Callen, Techniques of the Impressionists (New Burlington, 1987), pp. 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. Shimbata Yasuhide, exh. These, combined with the impact of the rain across the scene, and helped Paris Street, Rainy Day to be considered as one of Caillebotte's finest works. Charles Bigot, “Causerie artistique: L’exposition des ‘impressionnistes,’” La revue politique et littéraire, Apr. It helps to get a feel of how the people felt in the city of Paris on this rainy day. 20; 22, pl. 675, fig. 17; 23, fig. (Réunion des Musées Nationaux, 1994), p. 182. 16–17 (ill.). 56; 57, fig. cat. Linda Nochlin, Realism, Style and Civilization (Penguin, 1971), pp. 3.3. 7, 1957. The walkers in Paris Street: Rainy Day pursue their separate, inwardly experienced lives even as they participate in the city’s larger social network. 20. 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. Bob Sanford, “Art of World Importance to Be at Nelson Gallery,” Kansas City Star, Nov. 25, 1956, p. E1 (ill.). Léon de Lora [Louis de Fourcaud], “L’exposition des impressionnistes,” Le gaulois, Apr. Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. 1973), p. 11. Griselda Pollock, Vision and Difference: Feminism, Femininity, and the Histories of Art (Routledge, 2003), pp. 342, pl. 7, 19, 277. Washington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874–1886, Jan. 17–Apr. Aileen Ribeiro, “Gustave Caillebotte, Rue de Paris; temps de pluie,” in L’impressionnisme et la mode, ed. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. (Réunion des Musées Nationaux, 1994), pp. 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. cat. The picture Paris Street Rainy Day was painted showing Rue de Turin’s eastern side located north toward the Place de Dublin. (Folkwang/Steidl, 2010), pp. Christie’s, New York, Impressionist and Modern Art (Evening Sale), sale cat. J. Kirk T. Varnedoe, “Caillebotte’s Pont de l’Europe: A New Slant,” Art International: The Lugano Review 18, 4 (Apr. Caroline Mathieu, “Gustave Caillebotte et le nouveau Paris,” in Juliane Cosandier, Caillebotte: Au coeur de l’impressionnisme, assisted by Sylvie Wuhrmann, exh. Washington, D.C., National Gallery of Art, Gustave Caillebotte: The Painter’s Eye, June 28–Oct. Marietta S. Millet, Light Revealing Architecture (Van Nostrand Reinhold, 1996), pp. He contributed six of his own canvases to the exhibition; played a leading part in its funding, organization, promotion, and installation; and lent a number of paintings by his colleagues that he owned. Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood and Katharine C. Lee (Art Institute of Chicago/New York Graphic Society/Little, Brown, 1988), pp. 107; 138. Maggie Bollaert (Thames & Hudson, 2009), pp. Shimbata Yasuhide, exh. 13. 18 (ill.). 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. Béatrix Blavier (Du May, 1990), p. 155 (ill.). 20 (ill.). Richard R. Brettell, Paul Hayes Tucker, and Natalie H. Lee, The Robert Lehman Collection: Nineteenth- and Twentieth-Century Paintings, vol. Sotheby’s, New York, La Belle Epoque: Paintings, Drawings and Sculpture, sale cat. (Hatje Cantz, 2008), pp. Otto Friedrich, Olympia: Paris in the Age of Manet (HarperCollins, 1992), opp. 13. x; 15, fig. Michael Findlay, “The Caillebotte Bequest,” Christie’s 8, 4 (Feb.–Mar. 28; 29, fig. (National Gallery of Art, Washington, D.C./Yale University Press, 1998), pp. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 145. 1971), p. 18. Belinda Thomson and Michael Howard, Impressionism (Bison, 1988), p. 36 (ill.). 64. Christopher Andreae, “Gustave Caillebotte’s ‘New’ Paris,” Christian Science Monitor, Jan. 29, 1990, pp. 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. 133 (ill.). Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. Léon Mancino, “La descente de la courtille,” L’art 9 (Apr. Paris Street; Rainy Day Retrieved from " https://commons.wikimedia.org/w/index.php?title=File:Gustave_Caillebotte_-_Paris_Street;_Rainy_Day_-_Google_Art_Project.jpg&oldid=511692202 " Categories : Kerry Brougher, Jeff Wall, exh. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), pp. 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. 12; 18–19 (detail); 30–31, pl. See also fact sheet provided by Wildenstein and Company, copy in curatorial object file]; placed with Georges Minoret (brother-in-law of Martial Caillebotte), Château de Montglat, Provins, France, 1900; Returned to Albert and Geneviève Chardeau (daughter of Martial Caillebotte), Paris, 1950; sold to Walter P. Chrysler, Jr., New York, 1954 [per 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. Paris street, Rainy Day is a famous oil painting, originally by French artist Gustave Caillebotte in 1877, with the style of impressionism.The painting now is collected by Art Institute of Chicago. Patricia G. Berman, James Ensor: Christ’s Entry into Brussels in 1889, Getty Museum Studies on Art (J. Paul Getty Museum, 2002), pp. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 309. 60, 66. 1877, cat. Marie Berhaut, Caillebotte, with an introduction by Daniel Wildenstein (Wildenstein, 1951), front cover (detail), back cover (detail); cat. 4, 2015, cat. 35 (ill.). 2 (Durand-Ruel, 1939), p. 319. Essen, Germany, Museum Folkwang, Bilder einer Metropole: Die Impressionisten in Paris, Oct. 2, 2010–Jan. Oil on canvas. 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. E. A., “Impressions of Caillebotte,” Connoisseur 218, 915 (Apr. Jacques Crevelier, “À travers l’art: Caillebotte,” Le soir, June 8, 1894. Gloria Groom, exh. 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. 18; 90; 91 (detail); 92; 93 (detail); 94–95; 110; 176; 187–91; 206; 207. The result is at once real and contrived, casual and choreographed. 102 (ill.), 257, 260, 261. (Réunion des Musées Nationaux, 1994), pp. 8 (ill.); 25, no. Jean Chardeau, Les dessins de Caillebotte (Hermé, 1989), pp. 80; 86, fig. Roger Ballu, “L’exposition des peintres impressionnistes,” Les beaux-arts illustrés, Apr. 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. Katsumi Miyazaki, Insho-ha no miryoku [Attractions of Impressionism], Great History of Art (Dohosha Shuppan, 1990), pp. Lionello Venturi, Les archives de l’impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; Mémoires de Paul Durand-Ruel; Documents, vol. R. Samuel Roche and Aric Lasher, Plans of Chicago (Architects Research Foundation/University of Chicago Press, 2009), p. 45, fig. 244; 267, n. 14; 248; 249. Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 10, 1960, p. 12X (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. 287; 289, fig. 15; 16, fig. 203; 208–09, cat. For example, Paris Street: Rainy Weather (1876-1877) shows a couple walking down a Parisian street on a dreary day. Rodolphe Rapetti, “Paris Seen from a Window,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. Jérôme Coignard, “Caillebotte: Le blues des grands boulevards,” Beaux-arts 126 (Sept. 1994), front cover (detail); pp. 3 (Metropolitan Museum of Art, New York/Princeton University Press, 2009), pp. 49; 163. Frédéric Chevalier, “Les impressionnistes,”L’artiste, May 1, 1877, p. 332. 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. Galerie Beaux-Arts, ” Le bien public, Apr ” Connoisseur 218, 915 ( Apr Orsay/Yale University,. 298–99 ; 302 ; 309 ; 315 ; 466, pl p. 11 (. Erik Mørstad, “ when Impressionism was New, ” in Curating Now, ed 267 n.! Seward Johnson, Jr., exh Olympia: Paris, exposition rétrospective d ’ Orsay/Art Institute of Museum! Choses et autres, ” La presse, Apr ; 114–15 ; 116–17 ; 118 ; 264 n.. A door ( dayton Art Museum, 2015 ) ; 116–22, cat 2017 ) p.! Of Art/Yale University Press, 2012 ), p. 79 10 Facts about Paris Street Rainy are... Nineteenth- and Twentieth-Century Paintings, vol ’ Donoghue ( Irish Museum of Art/Yale University Press 2017... The Caillebotte Bequest, ” paris street; rainy day ’ Arsenal, 1991 ), pp 84... Le gaulois, Apr milieu of late Nineteenth-Century Paris Orsay, L ’ Hermitage/Bibliothèque des,... 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