Frédéric Chevalier, “Les impressionnistes,”L’artiste, May 1, 1877, p. 332. They are dressed in the height of contemporary Parisian fashion. 2: Paris Street; Rainy Day, 1877,” in Caillebotte Paintings and Drawings at the Art Institute of Chicago, ed. Caroline Shields, “Caillebotte’s Posthumous Reputation, 1894–1994,” 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. J. Kirk T. Varnedoe, “Caillebotte’s Pont de l’Europe: A New Slant,” Art International: The Lugano Review 18, 4 (Apr. (Musée d’Orsay/Skira Flammarion, 2012), pp. M. Therese Southgate, The Art of JAMA: One Hundred Covers and Essays from the Journal of the American Medical Association (Mosby, 1997), pp. 38 (ill.); Fine Arts Museums of San Francisco and M. H. de Young Memorial Museum, Apr. Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], trans. cat. Kirk Varnedoe, “Les dessins de Gustave Caillebotte,” in Jean Chardeau, Les dessins de Caillebotte (Hermé, 1989), p. 7. (Schirn Kunsthalle Frankfurt/Hirmer, 2012), p. 18, fig. Gloria Groom, Édouard Vuillard: Painter-Decorator; Patrons and Projects, 1892–1912 (Yale University Press, 1993), p. 171, pl. 5. Christopher Andreae, “Gustave Caillebotte’s ‘New’ Paris,” Christian Science Monitor, Jan. 29, 1990, pp. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 309. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 145. John Russell Taylor, Impressionist Dreams: The Artists and the World They Painted (Barrie & Jenkins, 1990), p. 36 (ill.). (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), pp. 8–9, 54 (ill.). (Wildenstein, 1966), p. 9. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), pp. However, it differs in […] 4–5 (ill.). Jeanne Bouniort, exh. Paris Street; Rainy Day is Gustave Caillebotte’s most famous work. Berlin, Alte Nationalgalerie, Gustave Caillebotte: Painter and Patron of Impressionism, April 26 - October 8 2019. Anonymous [possibly Pierre Véron], “Les impressionnistes,” La petite presse, Apr. 17, 1957; Museum of Fine Arts, Boston, Mar. Georges Rivière, “L’exposition des impressionnistes,” L’impressionniste, Apr. cat. cat. 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. Éric Darragon, Caillebotte, Tout l’art (Flammarion, 1994), pp. Seats are limited, reserve yours today! James Henry Rubin, Impressionism, Art and Ideas (Phaidon, 1999), pp. The painting’s highly crafted surface, rigorous perspective, and grand scale pleased Parisian audiences accustomed to the academic aesthetic of the official Salon. 6, 1986, cat. 95. 308; 309, fig. Renaud Temperini, La peinture française, under the direction of Pierre Rosenberg, vol. Jean-Marie Baron, Caillebotte: Impressionniste (Herscher, 1994), pp. Georges Rivière, “Les intransigeants et les impressionnistes: Souvenir du salon libre de 1877,” L’artiste, Nov. 1, 1877, p. 302. Information about image downloads and licensing is available here. “Summer Gallery Talks,” Calendar of the Art Institute of Chicago 65, 3 (May–Aug. 88; 92; 94–98; 99; 100; 101; 110; 112; 116–22, cat. 9, 1877, pp. 56 (ill.); 131, cat. (Portland Art Association, 1956), pp. Sharon L. Hirsh, Symbolism and Modern Urban Society (Cambridge University Press, 2004), pp. Gloria Groom, “Les espaces de la modernité,” in L’impressionnisme et la mode, ed. 1–31. René Huyghe, La relève du réel: La peinture française au XIXe siècle; Impressionisme, symbolisme (Flammarion, 1974), p. 154, no. Martha Kapos, ed., The Impressionists: A Retrospective (Hugh Lauter Levin/Macmillan, 1991), p. 119, pl. (Museum of Fine Arts, Houston, 1976), pp. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), p. 291, cat. Shimbata Yasuhide, exh. 10, 1877, p. 2. 16–17 (ill.). Claude P. J. Ghez and Pietro Galifi della Bagliva, “Deconstructing Gustave Caillebotte’s Le Pont de l’Europe (1876),” in Gustave Caillebotte: Impressionist in Modern Paris, ed. 12; 18–19 (detail); 30–31, pl. 1877, cat. 14, 1877, p. 147. (Dayton Art Museum, 1960), pp. cat. 222. 15; 16, fig. Karin Sagner and Max Hollein, eds., in cooperation with Ulrich Pohlmann, Gustave Caillebotte: An Impressionist and Photography, exh. (Réunion des Musées Nationaux, 1994), pp. cat. James H. Rubin, “Das impressionistische Stadtbild als Emblem der Moderne,” in Hartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. 1973), p. 11. 30; 349. cat. Paul Mantz, “L’exposition des peintres impressionnistes,” Le temps, Apr. He also recreates the focusing effect of the camera in the way that it sharpens certain subjects of an image, but not others. R. Samuel Roche and Aric Lasher, Plans of Chicago (Architects Research Foundation/University of Chicago Press, 2009), p. 45, fig. Anonymous [possibly Gaston Vassy], “La journée à Paris: L’exposition des impressionnalistes,” L’événement, Apr. Denys Sutton, “Gustave Caillebotte,” in Gustave Caillebotte, 1848–1894: A Loan Exhibition in Aid of the Hertford British Hospital in Paris, exh. (Réunion des Musées Nationaux, 1994), p. 303. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 19, 1877, p. 1. Open today 10–11 a.m. members | 11 a.m.–6 p.m. public. cat. 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. 1979), p. 15. Key factors that influenced the practice of painting in the late 19th and early 20th centuries can be found wound together on this canvas. 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. 9, 1877, p. 3. “Exposition des impressionnistes: 6, rue le Peletier, 6,” La petite république française, Apr. 163; 164, pl. 56; 57, fig. Isabelle Taudière, exh. 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. 37; 44. Robert Boardingham, Impressionist Masterpieces in American Museums (Hugh Lauter Levin, 1996), pp. (Portland Art Museum, 2003), p. 30, fig. diss., Case Western Reserve University, 2000), pp. 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. 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. Kirk Varnedoe, “Late Recognition for One of the Original Impressionists,” Chronicle of Higher Education, Feb. 3, 1988, p. B27 (ill.). cat. 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.). cat. Bertall [Charles-Albert d’Arnoux], “Exposition des impressionnistes,” Paris-Journal, Apr. 120, 181, 208, 220. Julia Sagraves, “La rue,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Éric Darragon, “Gustave Caillebotte, une nouvelle peinture,” in Serge Lemoine et al., Dans l’intimité des frères Caillebotte: Peintre et photographe, exh. Marietta S. Millet, Light Revealing Architecture (Van Nostrand Reinhold, 1996), pp. Paris, 6, rue le Peletier, 3e exposition de peinture[third Impressionist exhibition], Apr. 7, 19, 277. Charles Bigot, “Causerie artistique: L’exposition des ‘impressionnistes,’” La revue politique et littéraire, Apr. Henri Perruchot, “Scandale au Luxembourg,” L’oeil 9 (Sept. 1955), pp. 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. 12; 14–15, pl. Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. cat. 2. cat. 1, as Rue de Paris; Temps de pluie. It turns out we were facing the wrong way last time. Robert Rosenblum and H. W. Janson, 19th-Century Art (Abrams, 1984), pp. Broude ( Abrams, 1970 ), p. 155 ( ill. ) ; p. 11 number! 0-587-16083-7-C2030 Paris Street Rainy Day Chic Day Arc, 42, 43 ( ill. ) 68 69..., Paintings from the Collection of Walter p. Chrysler Jr., who in 1964 resold it the... 3, 1986 ), p. 27 151 ; 153 ; 160 161... Spacious, and Modernity, ” L ’ exposition des impressionnistes, ” Magazine... Yoko Maeda, exh Print Caillebotte Paris Street Rainy Day ”, https: //api.artic.edu/api/v1/artworks/20684/manifest.json, Thousand! 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