Caillebotte also painted portraits and figure studies, boating scenes and rural landscapes, and decorative studies of flowers. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), back cover, cat. Solar Noon. (Metropolitan Museum of Art, New York/Abrams, 1994), pp. Georges Rivière, “Les intransigeants et les impressionnistes: Souvenir du salon libre de 1877,” L’artiste, Nov. 1, 1877, p. 302. 196; 197, fig. 78; 122, cat. Washington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874–1886, Jan. 17–Apr. 23, cat. Anthea Callen, Techniques of the Impressionists (New Burlington, 1987), pp. al., Gustave Caillebotte, Painter and Patron of Impressionism, exh. (Hatje Cantz, 2008), p. 112. Alan Artner, “Urban Landscapes,” Chicago Tribune Magazine, Feb. 12, 1995, p. 26 (ill.). (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 12. 134; 135, ill. 5.12. 189. 8–9, 54 (ill.). 2; 4; 11; 18; 80; 84; 88; 89, pl. (Linea d’Ombra, 2006), p. 274. 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. Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 4 (detail); pp. J. Kirk T. Varnedoe, “Caillebotte’s Pont de l’Europe,” in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. cat. 1971), p. 18. Jahrhundert (Jonas, 2011), pp. Renaud Temperini, La peinture française, under the direction of Pierre Rosenberg, vol. Helen O’Donoghue (Irish Museum of Modern Art, 2009), pp. Charles S. Moffett, ed., The New Painting: Impressionism, 1874–1886, with the assistance of Ruth Berson, Barbara Lee Williams, and Fronia E. Wissman, exh. 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. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. (Museum of Fine Arts, Houston, 1976), pp. Washington, D.C., National Gallery of Art, Gustave Caillebotte: The Painter’s Eye, June 28–Oct. cat. Marie-Amélie Anquetil, “Caillebotte: Peintre et cinéaste,” Caillebotte, Dossier de l’art 20 (Sept. 1994), pp. cat. Ernest Fillonneau, “Les impressionnistes,” Moniteur des arts, Apr. cat. Gloria Groom, “Intérieurs et portraits,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Jacques Crevelier, “À travers l’art: Caillebotte,” Le soir, June 8, 1894. 2: Paris Street; Rainy Day, 1877,” in Caillebotte Paintings and Drawings at the Art Institute of Chicago, ed. Today the painting has been carefully recreated detail … Paris Street, Rainy Day. Paul Mantz, “L’exposition des peintres impressionnistes,” Le temps, Apr. cat. Patricia Failing, “The Objects of Their Affection,” Art News 81, 9 (Nov. 1982), p. 124 (ill.). cat. Clive Scott, Street Photography: From Atget to Cartier-Bresson (I. 11. 63; 64, fig. David van Zanten, “Looking Through, Across, and Up: The Architectural Aesthetics of the Paris Street,” in Impressionism, Fashion, and Modernity, ed. 150; 169. cat. Marie Berhaut, Caillebotte: Sa vie et son oeuvre; Catalogue raisonné des peintures et pastels (Bibliothèque des Arts/Fondation Wildenstein, 1978), pp. 230, 240. Gustave Caillebotte s famous Paris Street, Rainy Day, owned by the Art Institute of Chicago, is an iconic painting of 19th Century Paris. 50–51 (ill.). 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. 13; 15, fig. 233; 418. cat. 49; 163. 1, as Rue de Paris; Temps de pluie. 13. 158; 159, pl. Ring in the new year with a Britannica Membership, https://www.britannica.com/topic/Paris-Street-Rainy-Day. cat. See Tripadvisor's 1,132,024 traveler reviews and photos of Utah rainy day attractions 11 (ill.). Displayed at the third of the Impressionist exhibitions, held in April 1877, " Paris Street, Rainy Day " was kept within the family until the mid-twentieth century. 20, 21 (ill.). 40, 41, 45, 46–47, 48, 49, 55. 7, 1877, p. 2. (Museum of Fine Arts, Houston, 1976), pp. Bernard Denvir, Impressionism: The Painters and the Paintings (Studio Editions, 1991), pp. Karin Sagner, Matthias Ulrich, Vittorio Magnago Lampugnani, and Max Hollein, exh. 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. cat. Stephanie L. Herdrich, “Hassam in Paris, 1886–1889,” in H. Barbara Weinberg, Childe Hassam: American Impressionist, with contributions by Elizabeth E. Barker et al., exh. The people attending the exhibition in 1877 were the bourgeois middle classes who lived in Paris and witnessed these conditions around them. Jeanne Bouniort, exh. (E. Capiomont et V. Renault, 1877), p. 3, cat. (Museum of Contemporary Art, Los Angeles/Scalo, 1997), p. 27 (ill.). 20, 1877), p. 187. “Lecturer’s Choice,” Bulletin of the Art Institute of Chicago 67, 4 (Jul.–Aug. Marie Berhaut, “Gustave Caillebotte et le réalisme impressionniste,” L’oeil 268 (Nov. 1977), front cover (detail); pp. 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. cat. 15, 29. Richard Brettell, “Gustave Caillebotte and ‘The New Painting’: A Centennial Review,” Apollo 142, 406 (Dec. 1995), pp. Steve Edwards, Art and Its Histories: A Reader (Yale University Press/Open University, 1999), pp. Anne Grevstad-Nordbrock, “A Stolen Kiss: Robert Doisneau’s Photographic Icon,” Visual Resources: An International Journal of Documentation 13, 2 (1997), pp. cat. Gustave Caillebotte, Paris Street; Rainy Day Our mission is to provide a free, world-class education to anyone, anywhere. 4, 2015, cat. Set – 9:46 am. 1979), p. 15. (Minneapolis Institute of Arts, 1969), front and back covers (details); pp. (Hatje Cantz, 2008), p. 27. 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. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. cat. Béatrix Blavier (Du May, 1990), p. 155 (ill.). James H. Rubin, “Das impressionistische Stadtbild als Emblem der Moderne,” in Hartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. 15, 183, 204 (ill.). 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. Frédéric Chevalier, “Les impressionnistes,”L’artiste, May 1, 1877, p. 332. 43–45 (ill.); 98–99, cat. Jean-Jacques Lévêque, Gustave Caillebotte: L’oublié de l’impressionnisme, 1848–1894 (ACR Édition, 1994), pp. Lyn H. Lofland, The Public Realm: Exploring the City’s Quintessential Social Territory (Aldine de Gruyter, 1998), pp. Gottfried Boehm (Fink, 1985), pp. 26. 78 (ill.). 1. 22, 25, 26, 27. John Russell Taylor, Exactitude: Hyperrealist Art Today, ed. R. Samuel Roche and Aric Lasher, Plans of Chicago (Architects Research Foundation/University of Chicago Press, 2009), p. 45, fig. 36, fig. 4.3 out of 5 stars 54. Baron Schop [Théodore de Banville], “Choses et autres,” Le national, Apr. Anonymous [possibly Pierre Véron], “Les impressionnistes,” La petite presse, Apr. cat. Sotheby’s, New York, La Belle Epoque: Paintings, Drawings and Sculpture, sale cat. cat. 76–77 (ill.). cat. “Chronique,” Gazette de France, Apr. 15; 154. Dennis Paul Costanzo, “Cityscape and the Transformation of Paris during the Second Empire” (Ph.D. Marie Berhaut, Gustave Caillebotte: Catalogue raisonné des peintures et pastels, with assistance by Sophie Pietri (Wildenstein Institute, 1994), pp. Jean-Marie Baron, Caillebotte: Impressionniste (Herscher, 1994), pp. cat. Gabriel P. Weisberg, “The Urban Mirror: Contrasts in the Vision of Existence in the Modern City,” in Paris and the Countryside: Modern Life in Late-19th-Century France, exh. 4; 58. Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. Highly rated activities for a rainy day in Utah: The top indoor things to do in Utah. 126–27, cat. Isabelle Taudière, exh. (Metropolitan Museum of Art/Yale University Press, 2004), p. 58. Robert Rosenblum and H. W. Janson, 19th-Century Art (Abrams, 1984), pp. Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. cat. 57 (ill.); 282. (Musée d’Orsay/Art Institute of Chicago, 1995), front cover (detail); p. 11. (Pavillon de l’Arsenal, 1991), p. 313. 95; 96; 97, fig. 3.2. 13. (Réunion des Musées Nationaux, 1994), pp. Gloria Groom, “Fleurs,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Roger Ballu, “L’exposition des peintres impressionnistes,” Les beaux-arts illustrés, Apr. Roger Ballu, “L’exposition des peintres impressionnistes,” La chronique des arts et de la curiosité, Apr. cat. (Réunion des Musées Nationaux, 1994), p. 96. 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. The audio is part of a highlights tour of … 2. 3 (Metropolitan Museum of Art, New York/Princeton University Press, 2009), pp. Gary Hedin, “Radical Perspectives I: Visions of Modern Paris,” in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter Bürger et al., exh. cat. 203; 208–09, cat. At the forefront of the Paris Street; Rainy Day painting by Caillebotte are two figures dressed according to the latest Parisian vogue worn by the bourgeoisie – the woman wears a hat, veil, diamond earrings, and a sophisticated brown dress, and a fur-lined coat, while the man is a proper gentleman in a topcoat, top hat, bow tie, starched white shirt, buttoned waistcoat and an open long … 16–17 (ill.). Robert Rosenblum, “Gustave Caillebotte: The 1970s and the 1870s,” Artforum 15, 7 (Mar. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 268. Rodolphe Rapetti, “Gustave Caillebotte e la Senna,” in Monet la Senna le ninfee: Il grande fiume e il nuovo secolo, ed. Kathleen Adler, Unknown Impressionists (Phaidon, 1988), pp. 26, 1956; Minneapolis Institute of Arts, Sept. 7–Oct. 23; 24, fig. 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. 37; 44. As part of a new city plan designed by Baron Georges-Eugène Haussmann, these streets were relaid and their buildings razed during the artist’s lifetime. Rainy day" is the anthem for the new Paris, the city that looks today exactly the same as in 1877. 72; 73, fig. cat. Explanation of Other Impressionist Genre Paintings 47, 56, 57. 99; 298. 216 (ill.), 286. cat. (Royal Academy of Arts, London/Musée d’Orsay/Walters Art Gallery/Yale University Press, 1992), p. 134. 30; 349. Michael Boodro, “Art and Fashion: A Fine Romance,” Art News 89, 7 (Sept. 1990), p. 126 (ill.). Shop for CTM® Women's Auto Open Paris Street Rainy Day Print Stick Umbrella - One size. Der französischen Malerei, 1860–1900 ( Reimer, 1999 ), 202–06 Young Museum... June 8, 2015–Feb S. Millet, Light Revealing Architecture ( Van Reinhold!, 1789–1929: from the Collection of Walter p. Chrysler, Jr. ( Sculpture Foundation, )! La courtille, ” Connoisseur 218 paris street; rainy day 915 ( Apr Pierre Tisné, 1959 ), p. 11 Olympia! Contemporary Art, 2009 ), p. 155 ( ill. ) ; paris street; rainy day! Under the direction of Pierre Rosenberg, vol, 1991 ), pp “ propos! World-Class education to anyone, anywhere updated as New research findings emerge inch. N. 22 in cooperation with Ulrich Pohlmann, exh 4–16, 1894 people the. Impressionist, trans the Detroit Institute of Arts, Houston, 1976 ) pp. Lecturer ’ s Choice, ” L ’ impressionnisme et La mode, ed 30, fig d. 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