2, 2008, cat. x; 15, fig. cat. Norma Broude (Rutgers University Press, 2002), pp. Robert Rosenblum, “The Nineteenth-Century Franc Revalued,” in Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 1800–1900, exh. xv; xvii, fig. (Museum of Fine Arts, Houston, 1976), pp. Caroline Mathieu, “Eugène Haussmann und das Neue Paris,” in Die Eroberung der Strasse: Von Monet bis Grosz, ed. “Summer Gallery Talks,” Calendar of the Art Institute of Chicago 65, 3 (May–Aug. 9, 1877, p. 3. 5; 41, 58. Jeanne Bouniort, exh. Rose-Marie and Rainer Hagen, “Unter dem Regenschirm herrscht eine noble Einsamkeit,” Art: Das Kunstmagazin 10 (Oct. 1997), pp. 43, 45. 29, fig. 30; 538. Kirk Varnedoe, “Gustave Caillebotte in Context,” Arts Magazine 50, 9 (May 1976), pp. Léon de Lora [Louis de Fourcaud], “L’exposition des impressionnistes,” Le gaulois, Apr. Jeanne Bouniort, exh. Gustave Caillebotte’s Paris Street; Rainy Day | Art Institute Essentials Tour About this artwork This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris. 271. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. Kirk Varnedoe, “Late Recognition for One of the Original Impressionists,” Chronicle of Higher Education, Feb. 3, 1988, p. B27 (ill.). 192, 193, 199–200, 201 (ill.), 202–06. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. 63. John Milner, Atelier d’artistes: Paris, capital des arts à la fin du XIXe siècle, trans. 28, 1877, p. 1047. 6, 21, 69 (ill.), 325. 25–May 22, 1960, cat. Robert Boardingham, Impressionist Masterpieces in American Museums (Hugh Lauter Levin, 1996), pp. 1. 22, 1877, p. 3. 233; 418. cat. (E. Capiomont et V. Renault, 1877), p. 3, cat. Clare Kunny, “Taking the Tour: How a Museum Lecturer Looks at the Museum,” New Art Examiner 24, 5 (Feb. 1997), pp. Exhibitions Elsewhere,” New York Times, Apr. Sarah Kennel, “Photograph and the Painter’s Eye,” 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. 47, 56, 57. cat. Anne-Birgitte Fonsmark, “Gustave Caillebotte: In the Midst of Impressionism; An Introduction,” in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter Bürger et al., exh. Gloria Groom, “Interiors and Portraits,” 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. John Maxon, “Some Recent Acquisitions,” Apollo 84, 55 (Sept. 1966), front cover (detail); pp. Durand-Ruel, Paris, Exposition rétrospective d’oeuvres de G. Caillebotte, exh. 12; 13, fig. (Réunion des Musées Nationaux, 1994), 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. MaryAnne Stevens, ed., Alfred Sisley, exh. 134; 135, ill. 5.12. Anne Distel, “Yerres,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. (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]. cat. "Rainy Day, Columbus Avenue, Boston" (1885). 23, cat. cat. 10; 676. (Fine Arts Museums of San Francisco, 1986), pp. 7, 1969, cat. 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. Gloria Groom, exh. 99–101 (ill.). 88; 92; 94–98; 99; 100; 101; 110; 112; 116–22, cat. Art Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), pp. (Nihon Nippon Television Network, 1985), pp. Lionello Venturi, Les archives de l’impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; Mémoires de Paul Durand-Ruel; Documents, vol. 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. cat. For example, Paris Street: Rainy Weather (1876-1877) shows a couple walking down a Parisian street on a dreary day. 20, 1877), p. 187. 20; 22–23, fig. J. Kirk T. Varnedoe, “In Detail: Gustave Caillebotte’s The Streets of Paris on a Rainy Day,” Portfolio 1, 5 (Dec. 1979–Jan. (Réunion des Musées Nationaux, 1994), pp. Catalogue de la 3e exposition de peinture, exh. 6, 1986, cat. 12. Kirk Varnedoe, Gustave Caillebotte (Yale University Press, 1987), pp. 1. 33; 34; 92–93, cat. 3 (Metropolitan Museum of Art, New York/Princeton University Press, 2009), pp. 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. Anonymous [possibly Gaston Vassy], “La journée à Paris: L’exposition des impressionnalistes,” L’événement, Apr. Paris, Musée d’Orsay, L’impressionnisme et la mode, Sept. 25, 2012–Jan. Anonymous [possibly Émile Zola], “Noted parisiennes: Une exposition; Les peintres impressionnistes,” Le sémaphore de Marseille, Apr. 48; 119–23; 124; 125–26; 130; 132; 244; 245; 246. Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 5. 5; 23. He also recreates the focusing effect of the camera in the way that it sharpens certain subjects of an image, but not others. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. Sculpture Foundation, Solid Impressions: J. Seward Johnson, Jr. (Sculpture Foundation, 2002), p. 10 (ill.). 1971), p. 18. Hubert Beck, “Urban Iconography in Nineteenth-Century American Painting: From Impressionism to the Ashcan School,” 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), pp. cat. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), pp. 230, 240. 4.3 out of 5 stars 54. Patrick Shaw Cable, “Questions of Work, Class, Gender, and Style in the Art and Life of Gustave Caillebotte” (Ph.D. 12; 14–15, pl. 23, 1877, p. 392. Bernard Denvir, Impressionism: The Painters and the Paintings (Studio Editions, 1991), pp. 120, 181, 208, 220. 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. Marni Reva Kessler, Sheer Presence: The Veil in Manet’s Paris (University of Minnesota Press, 2006), pp. Paris Street; Rainy Day was probably intended to make them self-conscious about the … cat. cat. With its gaslights, carriages, and cobblestone streets, Gustave Caillebotte’s Paris Street; Rainy Day may seem to some twenty-first-century viewers like a quaint evocation of old-world Paris. It turns out we were facing the wrong way last time. (Galerie Beaux-Arts, 1951), cat. Richard R. Brettell, Paul Hayes Tucker, and Natalie H. Lee, The Robert Lehman Collection: Nineteenth- and Twentieth-Century Paintings, vol. Kuraishi Shino, “Caillebotte and Photographic Sense of Vision,” in Gustave Caillebotte: Impressionist in Modern Paris, ed. 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. Caillebotte's interest in photography is evident. The walkers in Paris Street: Rainy Day pursue their separate, inwardly experienced lives even as they participate in the city’s larger social network. 1987), p. 3 (ill.). Marie Berhaut, Caillebotte: The Impressionist, trans. The picture Paris Street Rainy Day was painted showing Rue de Turin’s eastern side located north toward the Place de Dublin. 95; 96; 97, fig. 28 (ill). 88–89 (ill.). 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. Gottfried Boehm (Fink, 1985), pp. Gustave Caillebotte's best-known work, Paris Street: Rainy Day (above), painted in 1877, shows a vast cobblestone street, stretching out in front of … Shimbata Yasuhide, “Caillebotte and the Modern City of Paris: In a Time of Upheaval,” in Gustave Caillebotte: Impressionist in Modern Paris, ed. cat. 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. cat. 7; 28; 34; 36; 46; 50. MaryAnne Stevens, exh. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), pp. 53. Gloria Groom, exh. Norma Broude (Abrams, 1990), p. 57. Anne Grevstad-Nordbrock, “A Stolen Kiss: Robert Doisneau’s Photographic Icon,” Visual Resources: An International Journal of Documentation 13, 2 (1997), pp. Patricia G. Berman, James Ensor: Christ’s Entry into Brussels in 1889, Getty Museum Studies on Art (J. Paul Getty Museum, 2002), pp. 15, 1956, cat. 25 (ill.); 116; 119; 122; 129; 133; 210–11; 212–13; 214–16. 2. Robert Rosenblum, “Gustave Caillebotte: The 1970s and the 1870s,” Artforum 15, 7 (Mar. E. Lepelletier [Edmond-Adolphe de Bouhélier], “Les impressionnistes,” Le radical, Apr. [6][7] Caillebotte juxtaposes the figures and the perspective in a playful manner, with one man appearing to jump from the wheel of a carriage; another pair of legs appear below the rim of an umbrella. 15, 183, 204 (ill.). (Portland Museum of Art, 2006), pp. Paris, Galeries Nationales du Grand Palais, Gustave Caillebotte, 1848–1894, Sept. 16, 1994–Jan. Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), p. 55 (ill.). (Hatje Cantz, 2008), p. 27. Max Wykes-Joyce, “Maecenas at Work: Gustave Caillebotte,” Art Review 18, 11 (June 11, 1966), p. 269. 6, 1877, p. 2. cat. Bob Sanford, “Art of World Importance to Be at Nelson Gallery,” Kansas City Star, Nov. 25, 1956, p. E1 (ill.). Buyenlarge 0-587-16083-7-C2030 Paris Street; Rainy Day Gallery Wrapped Canvas Print, 20" x 30". Belinda Thomson and Michael Howard, Impressionism (Bison, 1988), p. 36 (ill.). 23; 30, n. 49. cat. One of the benefits of realism is that one can almost reach out and touch this scene, from the material of the clothing and umbrellas to the rain … Rainy Day, Boston (1885), Toledo Museum of Art in Ohio, with "an uncanny resemblance" to Caillebotte's 1877 Paris Street; Rainy Day In February 1884, after a courtship of several years, Hassam married Kathleen Maude (or Maud) Doane (born 1861), a family friend. 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. Petra ten-Doesschate Chu, Nineteenth-Century European Art (Prentice-Hall/Abrams, 2003), pp. 10 (ill.), 122 (ill.). Peter Bürger, “Media Differences: Caillebotte and Maupassant as Storytellers,” in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter Bürger et al., exh. 92–93 (ill.), 143 (ill.). cat. 2–3. The painting was first shown at the Third Impressionist Exhibition of 1877. James Rondeau, “New Art/Old Museum: Contemporary Artists Engaging the Encyclopedia,” in Curating Now, ed. Washington, D.C., National Gallery of Art, Gustave Caillebotte: The Painter’s Eye, June 28–Oct. 18 (ill.). 8, 1877, p. 2. 51, 54, 56, 60. Jean-Marie Baron, Caillebotte: Impressionniste (Herscher, 1994), pp. J. Bouret, “Un peintre de notre temps,” Art, beaux-arts, littérature, spectacles, May 25, 1951, p. 1 (ill.). Gaëtan Picon, Émile Zola: Le bon combat, de Courbet aux impressionnistes (Hermann, 1974), pp. 2, 1977, cat. British art critic and columnist for the Guardian, Jason Farago joked that Cabotto managed to convey two things are consistently true to describe the life of Paris at all times: the sky is most often grey, in a fashion unchanged is black. 26. Marie Berhaut, Gustave Caillebotte: Catalogue raisonné des peintures et pastels, with assistance by Sophie Pietri (Wildenstein Institute, 1994), pp. 4.7. 4–5 (ill.). cat. cat. (Musée d’Orsay/Skira Flammarion, 2012), pp. 78 (ill.); Seattle Art Museum, Apr. Sharon L. Hirsh, Symbolism and Modern Urban Society (Cambridge University Press, 2004), pp. , Caillebotte: the Painters and the 1870s, ” in Curating Now, ed 122 ( ill. paris street; rainy day Chu... 112 ; 116–22, cat Paris ( University of Minnesota Press, 2009 ), pp a Parisian Street a! 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