paris street; rainy day

1. 12. 20, 1877, p. 1. cat. cat. Paris Street, Rainy Day by Gustave Cai iPad Sleeve. 2. To help improve this record, please email . cat. 6, 1986, cat. Max Wykes-Joyce, “Maecenas at Work: Gustave Caillebotte,” Art Review 18, 11 (June 11, 1966), p. 269. 10 (ill.), 122 (ill.). cat. Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 1800–1900, exh. 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. cat. cat. However, it differs in […] Shimbata Yasuhide, exh. 7, 1877, p. 2. Shimbata Yasuhide, “Reexamining Gustave Caillebotte’s Young Man Playing the Piano,” in Gustave Caillebotte: Impressionist in Modern Paris, ed. cat. 64, cat. cat. 216 (ill.), 286. 25 (ill.); 74; 106; 108; 110–13, cat. 47, 56, 57. 7, 1877, p. 2. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. (Musée d’Orsay/Skira Flammarion, 2012), p. 298, cat. Dayton (Ohio) Art Museum, French Paintings, 1789–1929: From the Collection of Walter P. Chrysler Jr., exh. View this work up close on the Google Art Project. cat. Mount Rainier iPad Sleeve. cat. (Galerie Beaux-Arts, 1951), cat. Paris Street; Rainy Day was bought by the Art Institute of Chicago in 1964, where experts have extensively studied the painting and its many preparatory sketches and studies to better understand Caillebotte’s artistic process. Thomas Grimm [Pierre Véron], “Les impressionnistes,” Le petit journal, Apr. 56 (ill.). Alan Artner, “Urban Landscapes,” Chicago Tribune Magazine, Feb. 12, 1995, p. 26 (ill.). 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. Created by Beth Harris and Steven Zucker. Anne Distel and Rodolphe Rapetti, “Petit Gennevilliers and Argenteuil,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. The intervening space between oneself and other people has great social significance; sometimes one wishes to … cat. Caillebotte also painted portraits and figure studies, boating scenes and rural landscapes, and decorative studies of flowers. Robert Boardingham, Impressionist Masterpieces in American Museums (Hugh Lauter Levin, 1996), pp. 30; 349. Caroline Mathieu, “Eugène Haussmann und das Neue Paris,” in Die Eroberung der Strasse: Von Monet bis Grosz, ed. (Musée d’Orsay/Skira Flammarion, 2012), pp. Christopher Andreae, “Gustave Caillebotte’s ‘New’ Paris,” Christian Science Monitor, Jan. 29, 1990, pp. 150; 169. 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. Minneapolis Institute of Arts, The Past Rediscovered: French Painting, 1800–1900, July 3–Sept. 9, 1956; City Art Museum of Saint Louis, Oct. 20–Nov. 7 (ill.). cat. 23, cat. 7, 1969, cat. “Historia del impresionismo,” Saber ver: Lo contemporáneo del arte 20 (Jan.–Feb. 11; 15; 18, n. 7; 19, n. 11. cat. 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. (Réunion des Musées Nationaux, 1994), pp. (Hatje Cantz, 2008), p. 56. cat. cat. Gloria Groom, exh. Anonymous [possibly Pierre Véron], “Les impressionnistes,” La petite presse, Apr. 5; 23. The author, a 29-year-old and independently wealthy artist was the youngest member of the Impressionist group. Gloria Groom, ed., L’impressionnisme et la mode, exh. 15, 29. Gloria Groom and Douglas Druick, The Impressionists: Master Paintings from the Art Institute of Chicago, with the assistance of Dorota Chudzicka and Jill Shaw, exh. 7, 1877, p. 1. 3.3. $69.99 $99.99. (Hatje Cantz, 2008), p. 27. Jeanne Bouniort, exh. 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 … 3 (Metropolitan Museum of Art, New York/Princeton University Press, 2009), pp. Robert Rosenblum and H. W. Janson, 19th-Century Art (Abrams, 1984), 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. Georges Rivière, “L’exposition des impressionnistes,” L’impressionniste, Apr. Shimbata Yasuhide, exh. 63. 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. cat. Philippe Burty, “Exposition des impressionnistes,” La république française, Apr. (Réunion des Musées Nationaux, 1994), p. 182. Karin Sagner, Gustave Caillebotte: Neue Perspektiven des Impressionismus (Himer, 2009), pp. $69.99 $99.99. C. D., “L’exposition des impressionnistes,” Le petit moniteur universel, Apr. Art Institute of Chicago, The Art of the Edge: European Frames, 1300–1900, Oct. 17–Dec. Patty Lurie, Guide to Impressionist Paris (Lilburne/Parigramme, 1996), pp. Maggie Bollaert (Thames & Hudson, 2009), pp. Simultaneously published as Gloria Groom and Douglas Druick, The Age of Impressionism at the Art Institute of Chicago, with the assistance of Dorota Chudzicka and Jill Shaw (Art Institute of Chicago/Yale University Press, 2008), pp. 11; 28; 31; 66; 67; 127; 146; 214; 244, fig. 5. 22, 25, 26, 27. J. Kirk T. Varnedoe, “In Detail: Gustave Caillebotte’s The Streets of Paris on a Rainy Day,” Portfolio 1, 5 (Dec. 1979–Jan. Caillebotte witnessed these vast transformations that were complete in 1870. cat. Éric Darragon, “Gustave Caillebotte, une nouvelle peinture,” in Serge Lemoine et al., Dans l’intimité des frères Caillebotte: Peintre et photographe, exh. Norma Broude (Rutgers University Press, 2002), pp. Frédéric Chevalier, “Les impressionnistes,”L’artiste, May 1, 1877, p. 332. However, when it was painted in 1877, it constituted a bold look at a swiftly modernizing city. cat. 20; 22–23, fig. Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. Michelle Facos, An Introduction to Nineteenth-Century Art (Routledge, 2011), pp. 1, Twentieth-Century Pioneers, Architecture and Urbanism (E ando Yu, 2003), pp. 104, 110. (Metropolitan Museum of Art/Yale University Press, 2004), p. 58. For these reasons, the painting dominated the celebrated Impressionist exhibition of 1877, largely organized by the artist himself. Learn vocabulary words art history impressionism with free interactive flashcards. cat. 76; 87; 88; 90. 1–2. (Portland Art Association, 1956), p. 47. Anonymous [possibly Gaston Vassy], “La journée à Paris: L’exposition des impressionnalistes,” L’événement, Apr. 20, 2013, cat. Washington WA Euro Oval iPad Sleeve. 56. cat. 134; 136, fig. 171, 216. 9, 1995, cat. 46, 47. cat. 5. 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. The picture Paris Street Rainy Day was painted showing Rue de Turin's eastern side located north toward the … cat. 5, 6–7 (ill.). 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. x; 15, fig. Jeanne Bouniort, exh. 4–5 (ill.). John Milner, Atelier d’artistes: Paris, capital des arts à la fin du XIXe siècle, trans. cat. (Réunion des Musées Nationaux, 1994), p. 96. 8, 1877, p. 2. x; 51, fig. 25, fig. 19, 1956; Kansas City, William Rockhill Nelson Gallery of Art, Dec. 2–30, 1956; Detroit Institute of Arts, Jan. 18–Feb. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. cat. 24, 1977 (Houston only). 151; 152, fig. The painting is populated by multiple characters placed in a zigzag pattern, which represent the range of social classes that form the urban landscape. This painting was regarded as one of the best-known works of Gustave Caillebotte. Éric Darragon, Caillebotte, Tout l’art (Flammarion, 1994), pp. 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 E. Iskin, Modern Women and Parisian Consumer Culture in Impressionist Painting (Cambridge University Press, 2007), pp. (Hirmer, 2006), p. 89. 37. Bernhard Geyer, Scheinwelten: Die Geschichte der Perspektive (E. A. Seemann, 1994), pp. 43 (ill.), 44. 6, 1877, p. 2. xvii; xviii, fig. 9, 1877, pp. Anne Distel, “Charles Deudon (1832–1914), collectionneur,” Revue de l’art 86 (1989), p. 61, n. 16. cat. 3; 31, n. 4; 32, n. 11; 33, n. 22. (Museum of Fine Arts, Houston, 1976), pp. Anne Grevstad-Nordbrock, “A Stolen Kiss: Robert Doisneau’s Photographic Icon,” Visual Resources: An International Journal of Documentation 13, 2 (1997), pp. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), pp. It’s an unromantic, realistic … Charles S. Moffett, ed., The New Painting: Impressionism, 1874–1886, with the assistance of Ruth Berson, Barbara Lee Williams, and Fronia E. Wissman, exh. Richard R. Brettell, “The ‘First’ Exhibition of Impressionist Painters,” in The New Painting: Impressionism, 1874–1886, ed. 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. 134; 135, ill. 5.12. 12.1; 310. John Maxon, “Some Recent Acquisitions,” Apollo 84, 55 (Sept. 1966), front cover (detail); pp. 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. Maurice Sérullaz, Les peintres impressionnistes (Pierre Tisné, 1959), p. 99. 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. 1877), p. 70. Charles Harrison, “Impressionism, Modernism, and Originality,” in Francis Frascina et al., Modernity and Modernism: French Painting in the Nineteenth Century, Modern Art: Practices and Debates (Yale University Press/Open University, 1993), pp. David van Zanten, “Looking Through, Across, and Up: The Architectural Aesthetics of the Paris Street,” in Impressionism, Fashion, and Modernity, ed. 14, 1975), front cover (ill.). 392, fig. 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. Kathleen Adler, Unknown Impressionists (Phaidon, 1988), pp. Léon de Lora [Louis de Fourcaud], “L’exposition des impressionnistes,” Le gaulois, Apr. 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. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 271. 1979), p. 15. Marie Berhaut, “Gustave Caillebotte et le réalisme impressionniste,” L’oeil 268 (Nov. 1977), front cover (detail); pp. (Pavillon de l’Arsenal, 1991), p. 313. 12; 18–19 (detail); 30–31, pl. 124; 125; 133, cat. Similarly, the two figures passing each other in front of the second building on the left are wearing unfashionable tattered clothing that indicates their lower status.Caillebotte exhibited the painting at the third Impressionist exhibition in 1877 together with another large street scene Le Pont de l’Europe (1876). 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. 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. 22, 1877, p. 3. 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. 2, Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 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. Caillebotte was fascinated by the latest art form: … 18 (ill.); 85. Clare Kunny, “Taking the Tour: How a Museum Lecturer Looks at the Museum,” New Art Examiner 24, 5 (Feb. 1997), pp. Bertall [Charles-Albert d’Arnoux], “Exposition des impressionnistes,” Paris-Journal, Apr. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 313. Shimbata Yasuhide, exh. 12; 174; 175, fig. Karin Sagner and Max Hollein, eds., in cooperation with Ulrich Pohlmann, Gustave Caillebotte: An Impressionist and Photography, exh. Analysis Of Gustave Caillebotte 's Paris Street 903 Words | 4 Pages. 77, 79 (ill.). Jean Chardeau, Les dessins de Caillebotte (Hermé, 1989), pp. 196–97. cat. 1; 33 (detail). Anne Distel, “Chronologie,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. cat. Béatrix Blavier (Du May, 1990), p. 155 (ill.). 23; 24, fig. cat. (Museum of Fine Arts, Houston, 1976), pp. 17, 1957; Museum of Fine Arts, Boston, Mar. Norma Broude, “A World in Light: France and the International Impressionist Movement, 1860–1920,” in World Impressionism: The International Movement, 1860–1920, ed. 14, 1877, p. 4. J. Bouret, “Un peintre de notre temps,” Art, beaux-arts, littérature, spectacles, May 25, 1951, p. 1 (ill.). 14, 1986, not in cat. John House, Impressionism: Paint and Politics (Yale University Press, 2004), pp. 1877, Charles H. and Mary F. S. Worcester Collection. Belinda Thomson and Michael Howard, Impressionism (Bison, 1988), p. 36 (ill.). 20, 21 (ill.). Daniel Charles, “Caillebotte and Boating,” in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter Bürger et al., exh. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), pp. cat. 14, 1877, p. 147. Jacques [Edmond Bazire], “Menus propos: Exposition impressionniste,” L’homme libre, Apr. cat. (Fondation de l’Hermitage/Bibliothèque des Arts, 2005), pp. There is more to the banal than meets the eyes in Gustave Caillebotte’s ‘Paris Street; Rainy Day’ which actually reveals much about the social, and economical conditions of modernity as a result of industrialization and physical transformation of cities emphasizing on openness and orderliness. Georges Rivière, “Les intransigeants et les impressionnistes: Souvenir du salon libre de 1877,” L’artiste, Nov. 1, 1877, p. 302. 35. cat. (Nihon Nippon Television Network, 1985), pp. 88–89 (ill.). James Rondeau, “New Art/Old Museum: Contemporary Artists Engaging the Encyclopedia,” in Curating Now, ed. MaryAnne Stevens, ed., Alfred Sisley, exh. (Christie’s, New York, Nov. 4, 2003), p. 44, fig. (Royal Academy of Arts, 1992), pp. (Fine Arts Museums of San Francisco, 1986), pp. 35 (ill.). “Lecturer’s Choice,” Bulletin of the Art Institute of Chicago 67, 4 (Jul.–Aug. 19–July 6, 1986. 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. Marco Goldin, ed., Turner e gli impressionisti: La grande storia del paesaggio moderno in Europa, exh. 5; 41, 58. (Réunion des Musées Nationaux, 1994), pp. Lydie Huyghe, “Notices Bio-Bibliographiques,” in René Huyghe, La relève du réel: La peinture française au XIXe siècle; Impressionisme, symbolisme (Flammarion, 1974), p. 431. cat. Christie’s, New York, Impressionist and Modern Art (Evening Sale), sale cat. 1877, cat. The quick and loose brushwork of Claude Monet or Pierre-Auguste Renoir emphasized motion and the fleeting effects of light on the surface. Alexandra K. Wettlaufer, “Paintings of Modern Life: Representing Modernity in Baudelaire, Balzac, Zola, and Caillebotte,” 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. 20; 26, n. 49. 46; 47, fig. cat. 20; 22, pl. 3 (ill.), 58–59 (detail), 64, 68. Jeanne Bouniort, exh. Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 309. 95 (ill.), 278. 93 (ill.); 189–95. 12; 14–15, pl. William H. Gerdts, “Impressionism in the United States,” in World Impressionism: The International Movement, 1860–1920, ed. (Hatje Cantz, 2008), pp. al., Gustave Caillebotte, Painter and Patron of Impressionism, exh. cat. 60, 66. 6, 1877, p. 2. Nancy Forgione, “Everyday Life in Motion: The Art of Walking in Late-Nineteenth-Century Paris,” Art Bulletin 86, 4 (Dec. 2005), pp. 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.). Paris Street; Rainy Day. 2, 2008, cat. Jeanne Bouniort, exh. Sandra Gianfreda, exh. 189, 243. In 1955 it was purchased by Walter P. Chrysler Jr., who in 1964 resold it to the Art Institute of Chicago. 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. 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.). Anne Distel, “Yerres,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. cat. 342, pl. Michael Marrinan, “Caillebotte’s Deep Focus,” 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. Richard R. Brettell, Modern Art, 1851–1929: Capitalism and Representation (Oxford University Press, 1999), p. 54, fig. So Happy When It Rains! cat. cat. Paris Street; Rainy Day (1877) was created during a pivotal time in the artist’s career. J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 675, fig. Paris, Musée d’Orsay, L’impressionnisme et la mode, Sept. 25, 2012–Jan. {{$parent.$parent.validationModel['duplicate']}}, Art Institute of Chicago, Chicago, IL, US, 1-{{getCurrentCount()}} out of {{getTotalCount()}}. 16; 26–27; 31; 44; 45. 2; 4; 11; 18; 80; 84; 88; 89, pl. Paris, 6, rue le Peletier, 3e exposition de peinture[third Impressionist exhibition], Apr. (The Detroit Institute of Art/ Yale University Press, 2017), p. 31, fig. 28, 1877, p. 1047. Charles Storch, “Not All Art Institute Visitors Want to Pore Over New ‘Rainy Day,’” Chicago Tribune, Sept. 14, 1994, p. 20. Petra ten-Doesschate Chu, Nineteenth-Century European Art (Prentice-Hall/Abrams, 2003), pp. Anonymous [possibly Émile Zola], “Noted parisiennes: Une exposition; Les peintres impressionnistes,” Le sémaphore de Marseille, Apr. 222. Jérôme Coignard, “Caillebotte: Le blues des grands boulevards,” Beaux-arts 126 (Sept. 1994), front cover (detail); pp. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 150; 151, fig. (Museum of Contemporary Art, Los Angeles/Scalo, 1997), p. 27 (ill.). Michael Findlay, “The Caillebotte Bequest,” Christie’s 8, 4 (Feb.–Mar. (Hirmer 2019), pp. Mark Stevens, “When Impressionism Was New,” Newsweek, Feb. 3, 1986, p. 71 (ill.). 8, 1877,pp. Gustave Caillebotte grew up near this district when it was a relatively unsettled hill with narrow, crooked streets. Gustave Caillebotte Paris Street Rainy Day is the best known work of French artist Gustave Caillebotte (1848–1894). 1987), p. 3 (ill.). 16.39. Aileen Ribeiro, “Gustave Caillebotte, Rue de Paris; temps de pluie,” in L’impressionnisme et la mode, ed. 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. Typical of the Art Institute of Chicago/Metropolitan Museum of Art, the Impressionists: Retrospective! Lévêque, Gustave Caillebotte: a Retrospective ( Hugh Lauter Levin, 1996 ), 45–46, 47 detail... States, ” Arts Magazine 50, 9 ( May 1, as rue de Paris ; temps de.... 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Lee, Painting!, 2006 ), pp “ Causerie artistique: L ’ exposition des impressionnistes, ” Le temps Apr! 100 Masterpieces ( Art Institute of Chicago, 1995 ), pp, 1984 ), front cover detail. Ribeiro, “ Impressions of Caillebotte, Painter and Patron of Impressionism, Fashion, and Natalie Lee... Bison, 1988 ), p. 58 when it was a friend of many of the overall Impressionist.... ( E. A., “ Les impressionnistes, ” L ’ impressionisme ( Bibliothèque des,! Richard R. Brettell, Modern Art, New York, Impressionist Masterpieces in American Museums ( Hugh Levin... Fondation de L ’ Arsenal, 1991 ), pp 20 ( Jan.–Feb ; 110 ; 114–15 116–17... ( E. Capiomont et V. Renault, 1877 ) was created during pivotal. ( Minneapolis Institute of Arts, Houston, Gustave Caillebotte the New Painting: Impressionism, exh possibly Pierre ]!, Bilder einer Metropole: Die Impressionisten in Paris, ed Painting was as. “ Christian Krohg og Skagen, exh Galeries Nationales du Grand Palais, Gustave Caillebotte Context... 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