Paris Street; Rainy Day | The Art Institute of Chicago (2023)

Paris Street; Rainy Day

Date:

1877

Artist:

Gustave Caillebotte
(French, 1848-1894)

(Video) 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. Gustave Caillebotte grew up near this district when it was a relatively unsettled hill with narrow, crooked streets. 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. 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. The painting’s highly crafted surface, rigorous perspective, and grand scale pleased Parisian audiences accustomed to the academic aesthetic of the official Salon. On the other hand, its asymmetrical composition, unusually cropped forms, rain-washed mood, and candidly contemporary subject stimulated a more radical sensibility. For these reasons, the painting dominated the celebrated Impressionist exhibition of 1877, largely organized by the artist himself. 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.

Status

On View, Gallery 201

Department

Painting and Sculpture of Europe

Artist

Gustave Caillebotte

Title

Paris Street; Rainy Day

Place

Paris (Place depicted)

Date

Made 1877

Medium

Oil on canvas

Inscriptions

Inscribed at lower left: G. Caillebotte. 1877

Dimensions

212.2 × 276.2 cm (83 1/2 × 108 3/4 in.)

Credit Line

Charles H. and Mary F. S. Worcester Collection

Reference Number

1964.336

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Extended information about this artwork

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  • Anne Distel, “Gustave Caillebotte, peintre, mécène et collectionneur,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Jeanne Bouniort, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 23; 30, n. 49.
  • Anne Distel, “Naissance d’un impressionniste,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Jeanne Bouniort, exh. cat. (Réunion des Musées Nationaux, 1994), p. 96.
  • Anne Distel, “Yerres,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Jeanne Bouniort, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 104, 110.
  • Anne Distel and Rodolphe Rapetti, “Au Petit Gennevilliers,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Jeanne Bouniort, exh. cat. (Réunion des Musées Nationaux, 1994), p. 303.
  • Bernhard Geyer, Scheinwelten: Die Geschichte der Perspektive (E. A. Seemann, 1994), pp. 77, 79 (ill.).
  • Gloria Groom, “Fleurs,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Jeanne Bouniort, exh. cat. (Réunion des Musées Nationaux, 1994), p. 347.
  • Gloria Groom, “Intérieurs et portraits,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Jeanne Bouniort, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 217, n 44; 235; 247.
  • Jean-Jacques Lévêque, Gustave Caillebotte: L’oublié de l’impressionnisme, 1848–1894 (ACR Édition, 1994), pp. 99–101 (ill.).
  • Rodolphe Rapetti, “Paris, vu d’une fenêtre,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Jeanne Bouniort, exh. cat. (Réunion des Musées Nationaux, 1994), p. 182.
  • Julia Sagraves, “La rue,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Jeanne Bouniort, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 128–129 (ill.); 130; 136–139; 146; 148; 152–156, cat. 35 (ill.).
  • 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. Jeanne Bouniort, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 14–15.
  • H. Barbara Weinberg, Doreen Bolger, and David Park Curry, American Impressionism and Realism: The Painting of Modern Life, 1885–1915, with the assistance of N. Mishoe Brennecke, exh. cat. (Metropolitan Museum of Art, New York/Abrams, 1994), pp. 12; 174; 175, fig. 160.
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  • Marie-Amélie Anquetil, “Dans les allées d’une oeuvre,” Caillebotte, Dossier de l’art 20 (Sept. 1994), pp. 12–13 (ill.).
  • Jérôme Coignard, “Caillebotte: Le blues des grands boulevards,” Beaux-arts 126 (Sept. 1994), front cover (detail); pp. 3 (ill.), 58–59 (detail), 64, 68.
  • Charles Storch, “Not All Art Institute Visitors Want to Pore Over New ‘Rainy Day,’” Chicago Tribune, Sept. 14, 1994, p. 20.
  • Russell Ash, ed., Impressionists’ Seasons (Pavilion, 1995), pp. 72–73 (ill.).
  • Albert Boime, Art and the French Commune: Imagining Paris after War and Revolution, Nineteenth-Century Art, Culture, and Society (Princeton University Press, 1995), pp. xii; 92, fig. 63.
  • 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. cat. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 52.
  • 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. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 313.
  • 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. cat. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. 20; 26, n. 49.
  • 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. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. 60, 66.
  • Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. cat. (Musée d’Orsay/Art Institute of Chicago, 1995), front cover (detail); p. 11.
  • 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. cat. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 291.
  • Gloria Groom, “Floral Still Lifes,” 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. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 309.
  • 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. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. 190, n. 43; 196; 209.
  • David P. Jordan, Transforming Paris: The Life and Labors of Baron Haussmann (Free Press, 1995), opp. p. 328 (ill.).
  • 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. cat. (Musée d’Orsay/Art Institute of Chicago, 1995), p. 145.
  • 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. cat. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. 88; 92; 94–98; 99; 100; 101; 110; 112; 116–22, cat. 35 (ill.).
  • 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. cat. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. 13, 14.
  • “Historia del impresionismo,” Saber ver: Lo contemporáneo del arte 20 (Jan.–Feb. 1995), p. 53 (ill.).
  • Alan Artner, “Urban Landscapes,” Chicago Tribune Magazine, Feb. 12, 1995, p. 26 (ill.).
  • Richard Brettell, “Gustave Caillebotte and ‘The New Painting’: A Centennial Review,” Apollo 142, 406 (Dec. 1995), pp. 56; 57, fig. 4; 58.
  • Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 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. 2, Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 69, 85 (ill.).
  • Robert Boardingham, Impressionist Masterpieces in American Museums (Hugh Lauter Levin, 1996), pp. 68–69 (ill.), 70.
  • Patty Lurie, Guide to Impressionist Paris (Lilburne/Parigramme, 1996), pp. 88–89 (ill.).
  • Marietta S. Millet, Light Revealing Architecture (Van Nostrand Reinhold, 1996), pp. 23; 24, fig. 1–31.
  • Ellen Williams, “Impressions of Paris,” Guggenheim Magazine (Fall 1996), pp. 46 (ill.), 47.
  • Kerry Brougher, Jeff Wall, exh. cat. (Museum of Contemporary Art, Los Angeles/Scalo, 1997), p. 27 (ill.).
  • Anne Grevstad-Nordbrock, “A Stolen Kiss: Robert Doisneau’s Photographic Icon,” Visual Resources: An International Journal of Documentation 13, 2 (1997), pp. 192; 193, fig. 2.
  • M. Therese Southgate, The Art of JAMA: One Hundred Covers and Essays from the Journal of the American Medical Association (Mosby, 1997), pp. 4–5 (ill.).
  • Clare Kunny, “Taking the Tour: How a Museum Lecturer Looks at the Museum,” New Art Examiner 24, 5 (Feb. 1997), pp. 36; 37; 38, n. 1.
  • Rose-Marie and Rainer Hagen, “Unter dem Regenschirm herrscht eine noble Einsamkeit,” Art: Das Kunstmagazin 10 (Oct. 1997), pp. 82–83 (ills.), 84 (detail), 85 (detail), 86 (detail), 87 (detail).
  • Lyn H. Lofland, The Public Realm: Exploring the City’s Quintessential Social Territory (Aldine de Gruyter, 1998), pp. 134; 135, ill. 5.12.
  • Juliet Wilson-Bareau, Manet, Monet, and the Gare Saint-Lazare, exh. cat. (National Gallery of Art, Washington, D.C./Yale University Press, 1998), pp. 80; 86, fig. 76; 87; 90; 91; 105.
  • Juliet Wilson-Bareau, Manet, Monet, la gare Saint-Lazare, trans. Isabelle Taudière, exh. cat. (Réunion des Musées Nationaux/Yale University Press, 1998), pp. 80; 86, fig. 76; 87; 88; 90.
  • Warren Adelson, “Childe Hassam: Cosmopolitan and Patriot,” in Warren Adelson, Jay Cantor, and William H. Gerdts, Childe Hassam: Impressionist (Abbeville, 1999), pp. 12; 14–15, pl. 11.
  • Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 1999), pp. 8–9, 54 (ill.).
  • Richard R. Brettell, Modern Art, 1851–1929: Capitalism and Representation (Oxford University Press, 1999), p. 54, fig. 37.
  • Steve Edwards, Art and Its Histories: A Reader (Yale University Press/Open University, 1999), pp. 196; 197, fig. xix.
  • Andrea Frey, Der Stadtraum in der französischen Malerei, 1860–1900 (Reimer, 1999), pp. 151; 153; 160; 161; 163–64; 166; 167; 169; 170; 171; 172; fig. 56.
  • James Henry Rubin, Impressionism, Art and Ideas (Phaidon, 1999), pp. 44, fig. 21; 296–97.
  • Michael Fried, “Caillebotte’s Impressionism,” Representations 66 (Spring 1999), pp. 25, fig. 16; 26–27; 31; 44; 45.
  • Sotheby’s, New York, La Belle Epoque: Paintings, Drawings and Sculpture, sale cat. (Sotheby’s, New York, May 5, 1999), pp. 44, 45 (ill.).
  • 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.).
  • 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. 15, 183, 204 (ill.).
  • Patrick Shaw Cable, “Questions of Work, Class, Gender, and Style in the Art and Life of Gustave Caillebotte” (Ph.D. diss., Case Western Reserve University, 2000), pp. 11; 28; 31; 66; 67; 127; 146; 214; 244, fig. 1.
  • Renaud Temperini, La peinture française, under the direction of Pierre Rosenberg, vol. 2 (Mengès, 2001), p. 776 (ill.).
  • Patricia G. Berman, James Ensor: Christ’s Entry into Brussels in 1889, Getty Museum Studies on Art (J. Paul Getty Museum, 2002), pp. 20; 22–23, fig. 20.
  • Norma Broude, “Outing Impressionism: Homosexuality and Homosocial Bonding in the Work of Caillebotte and Bazille,” in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. Norma Broude (Rutgers University Press, 2002), pp. 124, 127.
  • Patrick Shaw Cable, “Caillebotte and Modern Realist Concerns during the First Impressionist Exhibitions,” Excavatio 17, 1–2 (2002), pp. 155–56; 166, fig. 2.
  • 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.
  • 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. 50–51 (ill.).
  • Sculpture Foundation, Solid Impressions: J. Seward Johnson, Jr. (Sculpture Foundation, 2002), p. 10 (ill.).
  • Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. 134; 136, fig. 99; 298.
  • J. Kirk T. Varnedoe, “Caillebotte’s Pont de l’Europe,” in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. Norma Broude (Rutgers University Press, 2002), pp. 11; 15; 18, n. 7; 19, n. 11.
  • 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. (Portland Art Museum, 2003), p. 30, fig. 2.
  • 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. 10 (ill.), 122 (ill.).
  • Petra ten-Doesschate Chu, Nineteenth-Century European Art (Prentice-Hall/Abrams, 2003), pp. 392, fig. 16.39.
  • Ann Dumas, Degas and the Italians in Paris (National Galleries of Scotland, 2003), pp. 15; 16, fig. 5; 23.
  • Michel Laclotte, The Art and Spirit of Paris (Abbeville, 2003), pp. 900–903 (detail); 904; 989, fig. 6.76; 997.
  • Henry Plummer, Masters of Light, vol. 1, Twentieth-Century Pioneers, Architecture and Urbanism (E ando Yu, 2003), pp. 50; 51, fig. 1.
  • Griselda Pollock, Vision and Difference: Feminism, Femininity, and the Histories of Art (Routledge, 2003), pp. 72; 73, fig. 3.2.
  • Christie’s, New York, Impressionist and Modern Art (Evening Sale), sale cat. (Christie’s, New York, Nov. 4, 2003), p. 44, fig. 6.
  • 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. cat. (Metropolitan Museum of Art/Yale University Press, 2004), pp. 43, fig. 37; 44.
  • Sharon L. Hirsh, Symbolism and Modern Urban Society (Cambridge University Press, 2004), pp. 63; 64, fig. 24; 67; 79.
  • John House, Impressionism: Paint and Politics (Yale University Press, 2004), pp. 117; 118, pl. 107; 138.
  • Erik Mørstad, “Christian Krohg i Skagen: Et Norsk Perspektiv,” in Christian Krohg og Skagen, exh. cat. (Skagens Museum/Lillehammer Kunstmuseum, 2004), pp. 17; 23, fig. 1.
  • Rodolphe Rapetti, “Gustave Caillebotte e la Senna,” in Monet la Senna le ninfee: Il grande fiume e il nuovo secolo, ed. Marco Goldin, exh. cat. (Linea d’Ombra, 2004), p. 79.
  • 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. cat. (Metropolitan Museum of Art/Yale University Press, 2004), p. 58.
  • Christopher Lloyd, “Les dessins de Gustave Caillebotte,” in Juliane Cosandier, Caillebotte: Au coeur de l’impressionnisme, assisted by Sylvie Wuhrmann, exh. cat. (Fondation de l’Hermitage/Bibliothèque des Arts, 2005), pp. 43, 45.
  • Caroline Mathieu, “Gustave Caillebotte et le nouveau Paris,” in Juliane Cosandier, Caillebotte: Au coeur de l’impressionnisme, assisted by Sylvie Wuhrmann, exh. cat. (Fondation de l’Hermitage/Bibliothèque des Arts, 2005), pp. 27; 28; 29, fig. 3.
  • Nancy Forgione, “Everyday Life in Motion: The Art of Walking in Late-Nineteenth-Century Paris,” Art Bulletin 86, 4 (Dec. 2005), pp. 675, fig. 10; 676.
  • Marco Goldin, ed., Turner e gli impressionisti: La grande storia del paesaggio moderno in Europa, exh. cat. (Linea d’Ombra, 2006), p. 274.
  • Marni Reva Kessler, Sheer Presence: The Veil in Manet’s Paris (University of Minnesota Press, 2006), pp. xvii; xviii, fig. 1; 12.
  • Caroline Mathieu, “Eugène Haussmann und das Neue Paris,” in Die Eroberung der Strasse: Von Monet bis Grosz, ed. Karin Sagner, Matthias Ulrich, Vittorio Magnago Lampugnani, and Max Hollein, exh. cat. (Hirmer, 2006), p. 89.
  • 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. cat. (Portland Museum of Art, 2006), pp. 46; 47, fig. 35.
  • Ruth E. Iskin, Modern Women and Parisian Consumer Culture in Impressionist Painting (Cambridge University Press, 2007), pp. 12; 66; 116–17; 118, fig. 48; 119–23; 124; 125–26; 130; 132; 244; 245; 246.
  • Robyn Roslak, Neo-Impressionism and Anarchism in Fin-de-Siècle France: Painting, Politics and Landscape (Ashgate, 2007), pp. 68; 69, fig. 3.3.
  • Clive Scott, Street Photography: From Atget to Cartier-Bresson (I. B. Tauris, 2007), pp. x; 51, fig. 12.
  • 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. cat. (Hatje Cantz, 2008), p. 27.
  • 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. cat. (Hatje Cantz, 2008), p. 112.
  • 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. cat. (Hatje Cantz, 2008), pp. 12; 13, fig. 3.
  • 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. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 2 (detail); 4; 19; 55; 56–57, cat. 18 (ill.); 85. 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. 2 (detail); 4; 19; 55; 56–57, cat. 18 (ill.); 85.
  • 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. (Hatje Cantz, 2008), p. 56.
  • Art Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), pp. 216 (ill.), 286.
  • 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. 9, 54 (ill.).
  • Richard R. Brettell, Paul Hayes Tucker, and Natalie H. Lee, The Robert Lehman Collection: Nineteenth- and Twentieth-Century Paintings, vol. 3 (Metropolitan Museum of Art, New York/Princeton University Press, 2009), pp. 151; 152, fig. 5.
  • R. Samuel Roche and Aric Lasher, Plans of Chicago (Architects Research Foundation/University of Chicago Press, 2009), p. 45, fig. 4.7.
  • James Rondeau, “New Art/Old Museum: Contemporary Artists Engaging the Encyclopedia,” in Curating Now, ed. Helen O’Donoghue (Irish Museum of Modern Art, 2009), pp. 124, 140 (ill.).
  • Karin Sagner, Gustave Caillebotte: Neue Perspektiven des Impressionismus (Himer, 2009), pp. 12; 18–19 (detail); 30–31, pl. 1; 33 (detail).
  • John Russell Taylor, Exactitude: Hyperrealist Art Today, ed. Maggie Bollaert (Thames & Hudson, 2009), pp. 28 (ill.), 29.
  • Hartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. Sandra Gianfreda, exh. cat. (Folkwang/Steidl, 2010), pp. 126–27, cat. 11 (ill.); 302.
  • James H. Rubin, “Das impressionistische Stadtbild als Emblem der Moderne,” in Hartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. Sandra Gianfreda, exh. cat. (Folkwang/Steidl, 2010), pp. 75, 77.
  • Malcolm Park, “Three Street Drawings by Gustave Caillebotte,” Burlington Magazine 152, 1289 (Aug. 2010), pp. 536, fig. 30; 538.
  • Éric Darragon, “Gustave Caillebotte, une nouvelle peinture,” in Serge Lemoine et al., Dans l’intimité des frères Caillebotte: Peintre et photographe, exh. cat. (Flammarion/Culturspaces/Musée National des Beaux-Arts du Québec/Musée Jacquemart-André, Institute de France, 2011), pp. 36, fig. 1; 37; 64.
  • Burcu Dogramaci, Wechselbeziehungen: Mode, Malerei und Fotografie im 19. Jahrhundert (Jonas, 2011), pp. 28; 29, fig. 13.
  • Michelle Facos, An Introduction to Nineteenth-Century Art (Routledge, 2011), pp. 308; 309, fig. 12.1; 310.
  • André Dombrowski, “History, Memory, and Instantaneity in Edgar Degas’s Place de la Concorde,” Art Bulletin 93, 2 (June 2011), p. 199, fig. 6.
  • Colin B. Bailey, Renoir, Impressionism, and Full-Length Painting, exh. cat. (Frick Collection/Yale University Press, 2012), pp. 150; 151, fig. 15; 154.
  • Gloria Groom, ed., Impressionism, Fashion, and Modernity, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), p. 291, cat. 93 (ill.).
  • Gloria Groom, ed., L’impressionnisme et la mode, exh. cat. (Musée d’Orsay/Skira Flammarion, 2012), p. 298, cat. 35.
  • Gloria Groom, “Spaces of Modernity,” in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), pp. 165, 166, 168.
  • Gloria Groom, “Les espaces de la modernité,” in L’impressionnisme et la mode, ed. Gloria Groom, exh. cat. (Musée d’Orsay/Skira Flammarion, 2012), pp. 46, 47.
  • Aileen Ribeiro, “Gustave Caillebotte, Paris Street; Rainy Day,” in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), pp. 184; 185 (detail); 188, cat. 93 (ill.); 189–95.
  • Aileen Ribeiro, “Gustave Caillebotte, Rue de Paris; temps de pluie,” in L’impressionnisme et la mode, ed. Gloria Groom, exh. cat. (Musée d’Orsay/Skira Flammarion, 2012), pp. 64, cat. 35 (ill.); 65–73.
  • Karin Sagner, “Gustave Caillebotte: An Impressionist and Photography,” in Gustave Caillebotte: An Impressionist and Photography, ed. Karin Sagner and Max Hollein, in cooperation with Ulrich Pohlmann, exh. cat. (Schirn Kunsthalle Frankfurt/Hirmer, 2012), p. 18, fig. 3.
  • Karin Sagner and Max Hollein, eds., in cooperation with Ulrich Pohlmann, Gustave Caillebotte: An Impressionist and Photography, exh. cat. (Schirn Kunsthalle Frankfurt/Hirmer, 2012), pp. 120, 181, 208, 220.
  • David van Zanten, “Looking Through, Across, and Up: The Architectural Aesthetics of the Paris Street,” in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), p. 154.
  • 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. 9, 54 (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. Shimbata Yasuhide, exh. cat. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), pp. 230, 240.
  • Shimade Norio, “Gustave Caillebotte and the Impressionist Exhibitions: Bonds of Trust with Renoir, Friendship with Monet, Conflict with Degas,” in Gustave Caillebotte: Impressionist in Modern Paris, ed. Shimbata Yasuhide, exh. cat. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), pp. 22, 25, 26, 27.
  • Virginie Pouzet-Duzer, L’impressionnisme littéraire, Culture et société (Presses Universitaires de Vincennes, 2013), pp. 287; 289, fig. 30; 349.
  • Kuraishi Shino, “Caillebotte and Photographic Sense of Vision,” in Gustave Caillebotte: Impressionist in Modern Paris, ed. Shimbata Yasuhide, exh. cat. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 271.
  • Shimbata Yasuhide, “Caillebotte and the Modern City of Paris: In a Time of Upheaval,” in Gustave Caillebotte: Impressionist in Modern Paris, ed. Shimbata Yasuhide, exh. cat. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 268.
  • Shimbata Yasuhide, ed., Gustave Caillebotte: Impressionist in Modern Paris, exh. cat. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), pp. 102 (ill.), 257, 260, 261.
  • Shimbata Yasuhide, “Reexamining Gustave Caillebotte’s Young Man Playing the Piano,” in Gustave Caillebotte: Impressionist in Modern Paris, ed. Shimbata Yasuhide, exh. cat. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 44.
  • 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. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), p. 86.
  • 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. cat. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 108 (detail); 110; 114–15; 116–17; 118; 264, n. 9.
  • 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. cat. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 28, 31, 33–36.
  • 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. cat. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 61–62, 63.
  • 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. cat. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 124; 125; 133, cat. 4 (ill.); 138.
  • 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. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), back cover, cat. 4 (detail); pp. 7, 19, 277.
  • 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. cat. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 40, 41, 45, 46–47, 48, 49, 55.
  • 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. cat. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 244; 267, n. 14; 248; 249.
  • 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. cat. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 72, 73.
  • “Cat. 2: Paris Street; Rainy Day, 1877,” in Caillebotte Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Genevieve Westerby (Art Institute of Chicago, 2015). https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/574_anchor
  • Jill Shaw, Framing Life, cat. exh. (The Detroit Institute of Art/ Yale University Press, 2017), p. 31, fig. 20 (ill.)
  • Gleis, Ralph, et. al., Gustave Caillebotte, Painter and Patron of Impressionism, exh. cat. (Hirmer 2019), pp. 40-41.
  • Claude Ghez et al, “Le Pont de l’Europe et Rue de Paris, temps de pluie: entre ironie et dystopie,” in Gustave Caillebotte 1848-1894: Impressioniste et moderne (Martigny: Fondation Pierre Granada, 2021), 83-91, figs. 3 and 4 (with drawings superimposed).
(Video) Gustave Caillebotte, Paris Street; Rainy Day

  • Paris, 6, rue le Peletier, 3e exposition de peinture[third Impressionist exhibition], Apr. 1877, cat. 1, as Rue de Paris; Temps de pluie.
  • Paris, Durand-Ruel, Exposition rétrospective d’oeuvres de G. Caillebotte, June 4–16, 1894, cat. 47.
  • Paris, Galerie Beaux-Arts, Rétrospective Gustave Caillebotte, May 25–July 25, 1951, cat. 13.
  • Portland (Ore.) Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., Mar. 2–Apr. 15, 1956, cat. 78 (ill.); Seattle Art Museum, Apr. 27–May 27, 1956; San Francisco, California Palace of the Legion of Honor, opened June 11, 1956; Los Angeles County Museum, July 27–Aug. 26, 1956; Minneapolis Institute of Arts, Sept. 7–Oct. 9, 1956; City Art Museum of Saint Louis, Oct. 20–Nov. 19, 1956; Kansas City, William Rockhill Nelson Gallery of Art, Dec. 2–30, 1956; Detroit Institute of Arts, Jan. 18–Feb. 17, 1957; Museum of Fine Arts, Boston, Mar. 8–Apr. 7, 1957.
  • Dayton (Ohio) Art Institute, French Paintings, 1789–1929: From the Collection of Walter P. Chrysler, Jr., Mar. 25–May 22, 1960, cat. 56 (ill.).
  • Minneapolis Institute of Arts, The Past Rediscovered: French Painting, 1800–1900, July 3–Sept. 7, 1969, cat. 7 (ill.).
  • Museum of Fine Arts, Houston, Gustave Caillebotte: A Retrospective Exhibition, Oct. 22, 1976–Jan. 2, 1977, cat. 25 (ill.); Brooklyn Museum, Feb. 12–Apr. 24, 1977 (Houston only).
  • Washington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874–1886, Jan. 17–Apr. 6, 1986, cat. 38 (ill.); Fine Arts Museums of San Francisco and M. H. de Young Memorial Museum, Apr. 19–July 6, 1986.
  • Art Institute of Chicago, The Art of the Edge: European Frames, 1300–1900, Oct. 17–Dec. 14, 1986, not in cat.
  • Paris, Galeries Nationales du Grand Palais, Gustave Caillebotte, 1848–1894, Sept. 16, 1994–Jan. 9, 1995, cat. 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. 10, 1995.
  • Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 18 (ill.).
  • Essen, Germany, Museum Folkwang, Bilder einer Metropole: Die Impressionisten in Paris, Oct. 2, 2010–Jan. 30, 2011, cat. 11 (ill.).
  • Paris, Musée d’Orsay, L’impressionnisme et la mode, Sept. 25, 2012–Jan. 20, 2013, cat. 35 (ill.); Metropolitan Museum of Art, New York, asImpressionism, Fashion, and Modernity, Feb. 26–May 27, 2013, cat. 93 (ill.); Art Institute of Chicago, June 26–Sept. 29, 2013.
  • Washington, D.C., National Gallery of Art, Gustave Caillebotte: The Painter’s Eye, June 28–Oct. 4, 2015, cat. 4 (ill.); Fort Worth, Tex., Kimbell Art Museum, Nov. 8, 2015–Feb. 14, 2016.
  • Berlin, Alte Nationalgalerie, Gustave Caillebotte: Painter and Patron of Impressionism, April 26 - October 8 2019.

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. cat. (Portland Art Association, 1956), p. 47. 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. cat. (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].

(Video) Paris Street Rainy Day by Gustave Caillebote at the Art Institute of Chicago

(Video) Video Postcard: Paris Street; Rainy Day (1877)

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.

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FAQs

What is the message of Paris Street Rainy Day? ›

Paris Street is a depiction of human non-interaction. The people attending the exhibition in 1877 were the bourgeois middle classes who lived in Paris and witnessed these conditions around them. Paris Street; Rainy Day was probably intended to make them self-conscious about the changes.

What type of art is Paris Street Rainy Day? ›

Paris Street; Rainy Day

Who painted Paris Street Rainy Day? ›

Gustave Caillebotte, Paris Street; Rainy Day, 1877, oil on canvas 83-1/2 x 108-3/4 inches / 212.2 x 276.2 cm (The Art Institute of Chicago).

What is the main idea of the Rainy Day poem? ›

Summary of The Rainy Day

He expresses a longing for the past, his youth, and perhaps the dreams that occupied his mind during that period. In the final stanza, he addresses his heart telling it to relax and accept what's going on. There are always going to be days when things feel darker, that's just part of life.

What is the purpose of the Rainy Day poem? ›

Henry Wadsworth Longfellow's “Rainy Day” uses the themes of lost and renewed hope, youth and grief to show how much our past and future experiences affect our lives and how though we face multiple struggles in life we can overcome them.

What is the elements of Paris Street Rainy Day? ›

Caillebotte's masterpiece, Paris Street; Rainy Day (1877), uses bold perspective to create a monumental portrait of a Paris intersection on a rainy day. Caillebotte also painted portraits and figure studies, boating scenes and rural landscapes, and decorative studies of flowers.

Why is Paris Street Rainy Day an example of modern art? ›

Paris Street, Rainy Day (1877)

His realist painting gave him a natural feel for modern art, especially since, like his predecessors Jean-Francois Millet (1814-75) and Gustave Courbet (1819-77), he sought to paint the world as it existed, rather than as it should be.

Where did Van Gogh hang out in Paris? ›

Vincent van Gogh lived with his art dealer brother Theo from 1886 to 1888 at 54 Rue Lepic in Montmartre. The apartment was on the third floor. Vincent's Paris years are seen as critical for his artistic development as he progressed from a dark palette to a vivid one.

Where is the umbrellas painting? ›

Pierre-Auguste Renoir | The Umbrellas | NG3268 | National Gallery, London.

Where is the famous painting on the ceiling? ›

The Sistine Chapel ceiling (Italian: Soffitto della Cappella Sistina), painted in fresco by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art.
...
Sistine Chapel ceiling
LocationSistine Chapel, part of Vatican Museums, Rome
41°54′11″N 12°27′16″E
Followed byThe Last Judgment
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Who painted the French girl? ›

Alice Neel | French Girl | The Metropolitan Museum of Art.

Who painted the famous sunrise? ›

Impression, Sunrise (French: Impression, soleil levant) is an 1872 painting by Claude Monet first shown at what would become known as the "Exhibition of the Impressionists" in Paris in April, 1874. The painting is credited with inspiring the name of the Impressionist movement.

Who painted breakfast in bed? ›

Mary Cassatt's 1897 canvas Breakfast in Bed is a moving and experiential reproduction from life of a domestic scene. Born in Pennsylvania, Mary Cassatt acquainted herself with the European avant-garde when she settled in Paris in 1873, remaining there for the rest of her life.

Are feelings also conveyed in poem? ›

Poems are a form of writing that's often rich with emotion, and they're meant to provoke an emotional response from the reader.

What is the theme of the chapter on the Rainy River? ›

Major themes of this story include the Vietnam War, courage, right and wrong, and memory and truth.

What makes Paris stand out? ›

Paris is one of the most beautiful cities in the world. It is known worldwide for the Louvre Museum, Notre-Dame cathedral, and the Eiffel tower. It has a reputation of being a romantic and cultural city. The city is also known for its high-quality gastronomy and the terraces of its cafés.

What is the most famous street in Paris which is mentioned in the story? ›

Avenue des Champs-Élysées

The Avenues des Champs-Élysées is undoubtedly the most famous street in all of Paris. As a matter of fact, many would claim that it's the most famous street in the entire world!

What is the main road in Paris called? ›

The Champs-Élysées, past and present

Nearly 2 kilometres in length, this historic thoroughfare runs from Place de la Concorde to the majestic Arc de Triomphe. But though it has since become 'the world's most beautiful avenue', the Champs-Élysées was once a swamp.

What is a graffiti person called? ›

Tagger - As opposed to writer, this term is usually used to refer to those who only do tags and throw-ups and who never piece. Some taggers seem to like more destructive methods such as scribers and sandpaper in addition to markers and paint.

What is the most viewed piece of art? ›

1. The Mona Lisa – 10 million per year. Unsurprisingly, the most visited painting in the world is also the most famous portrait ever painted – the Mona Lisa. Created by Leonardo da Vinci at the start of the 16th century, it's valued at well over $660 million.

What is the message of modern art? ›

Modern art is the creative world's response to the rationalist practices and perspectives of the new lives and ideas provided by the technological advances of the industrial age that caused contemporary society to manifest itself in new ways compared to the past.

What is the message of the painting the Parisian life? ›

The Parisian Life further proved that Luna was sensitive and skillful in capturing a fleeting moment of ordinary life that he could imbue with “personality and universal emotions”.

What is street art inspired by? ›

Inspired by the World

The inherent drive of a street artist to create is almost always molded by the elements which are intrusively present in the community which he tries to influence.

How long does it take to walk through the Van Gogh? ›

Individual visit times will vary, but most visitors can anticipate spending 60 – 90 minutes. The main feature of the experience lasts approximately 45 minutes.

Why is Van Gogh buried in France? ›

Van Gogh's grave in Auvers cemetery

His brother Theo died 6 months later in the Netherlands. In 1914, his wife had his remains transferred to Auvers so that he could be re-buried next to Vincent. Ivy, from the garden of Dr Gauchet, cover their adjoining and understated graves.

How long does it take to walk through the Van Gogh Museum? ›

How much time should I spend at the Van Gogh Museum? Depending on how much time you spend on each exhibit, the visit can take anything between 1 hour to 2 hours. On average, visitors spend 1 hour and 15 minutes to properly explore the permanent exhibit.

Where is Les Parapluies? ›

It is owned by the National Gallery in London as part of the Lane Bequest but is displayed alternately in London and at the Dublin City Gallery The Hugh Lane.

Who painted the umbrella man? ›

The 'Umbrella Man' is one of Peter Max's most famous signature characters emerging in the early years of his Neo-Fauve, color study of the 1980s.

What famous painting went missing? ›

'The Storm on the Sea of Galilee' by Rembrandt van Rijn

Rembrandt van Rijn's piece was stolen during a heist totalling more than $500 million, which also included Johannes Vermeer's The Concert. The artworks were snatched from the Isabella Stewart Gardner Museum in Boston, US, in the early hours of March 18, 1990.

What is the number 1 famous painting? ›

Mona Lisa, Paris

It is no surprise that the number one painting on our list is the famous Mona Lisa. The enigmatic painting of the smiling woman painted by the greatest Leonardo da Vinci dates back to 1503 to 15019.

Who owns the Sistine Chapel? ›

The Sistine Chapel is in the official residence of the Pope, the Apostolic Palace. Originally known as the Cappella Magna, the chapel's “new” name came from Pope Sixtus IV. Pope Sixtus IV committed to restoring the chapel between 1477 and 1480. Today, the Sistine Chapel serves as a private chapel of the pope.

What is French art called? ›

From the mid to late seventeenth century, French art is more often referred to by the term "Classicism" which implies an adherence to certain rules of proportion and sobriety uncharacteristic of the Baroque, as it was practiced in most of the rest of Europe during the same period.

Did the French buy the Mona Lisa? ›

Mona Lisa's famously enigmatic smile has fascinated viewers for centuries. Among her first admirers was King François I, who invited Leonardo da Vinci to France and bought the painting from him in 1518.

Who are the three ladies of the Louvre? ›

Together with the Mona Lisa and The Winged Victory of Samothrace, the Venus de Milo is one of the three most famous female figures in the Louvre.

Who painted the scream? ›

The National Museum in Oslo holds one of the world's most important collections of paintings by Edvard Munch, including such iconic works as "The Scream".

Who painted the first sunset? ›

Sunset is a mid-19th-century drawing by Eugène Delacroix.
...
Sunset (Delacroix)
Sunset
ArtistEugène Delacroix
Yearc. 1850
MediumPastel on paper
Dimensions20.4 cm × 25.9 cm (8.0 in × 10.2 in)
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Who painted yellow sweater? ›

Amedeo Modigliani

Modigliani's sculptural concerns were translated into paint in Jeanne Hébuterne with Yellow Sweater, in which he portrayed his young companion as a kind of fertility goddess.

Who paint the dinner table? ›

The Dinner Table | painting by Matisse | Britannica.

Who painted The Night Cafe? ›

VINCENT VAN GOGH: THE NIGHT CAFE

Night Café by Van Gogh was painted in September 1888 while he was living in Arles. Earlier in the year he had moved to a room at the Café de la Gare, where the room depicted in this painting was.

Who painted the pastry eaters? ›

Bartolomé Estebán‏ Murillo | The Pastry Eaters (Early 20th Century) | MutualArt.

What was the purpose of the painting Paris Street rainy Day? ›

The Paris Street; Rainy Day Scene

Caillebotte took into account the class differences between the 19th century Parisians and presented them in a playful manner of an everyday city scene.

What is the artist trying to communicate in Paris Through the Window? ›

Paris through the Window (Paris par la fenêtre)

For both artists it served as a metaphor for Paris and perhaps modernity itself. Chagall's parachutist might also refer to contemporary experience, since the first successful jump occurred in 1912. Other motifs suggest the artist's native Vitebsk.

Why do people like Paris in the rain? ›

Because the colours, the lights' reflections in the streets and in the puddles, and the sky, so low and soft, reinforce its romantic soul and its scenic look. Especially in the evening, when the boulevards get rid of the tourists and leave room to the young couples who can't resist such a charming atmosphere.

Is Paris Street rainy Day Impressionist? ›

Paris Street; Rainy Day (1877) is an Impressionist painting. Although it has been described in terms of also belonging to the Realism art style because it was portrayed with more detail compared to the characteristic Impressionism paintings.

What is the message of the painting Judgement of Paris? ›

The theme of the Judgment of Paris was used by Rubens on several occasions. It allowed him to display his ideal of female beauty, and also to consider the consequences of love and passion. This version is based on a design for a ewer that Rubens made.

What message or idea is the work or the artist trying to convey? ›

Theme is the message or idea that the artist wishes to convey through their art, or the message received by an audience when observing art.

What was the artist statement in this work? ›

What Is an Artist's Statement? A general introduction to your work, a body of work, or a specific project. It should open with the work's basic ideas in an overview of two or three sentences or a short paragraph. The second paragraph should go into detail about how these issues or ideas are presented in the work.

What did the artist use to express his her feelings or thoughts? ›

Artists use different lines, shapes, and colors to express their feelings. Every artist chooses their own colors, lines and shapes that are meaningful for them. Learn more about Expressionism as an artist movement HERE.

Why does Paris get dark so late? ›

The farther a country is from the equator, the more oblique the sun's path is to the horizon, causing sunset to last for a different duration. Paris lies on the 49th degree of northern latitude and is therefore very far away from the equator.

What makes Paris so attractive? ›

Paris is one of the most beautiful cities in the world. It is known worldwide for the Louvre Museum, Notre-Dame cathedral, and the Eiffel tower. It has a reputation of being a romantic and cultural city. The city is also known for its high-quality gastronomy and the terraces of its cafés.

What month rains the most in Paris? ›

The month with the most rain in Paris is December, with an average rainfall of 1.8 inches. The month with the least rain in Paris is March, with an average rainfall of 1.2 inches.

What are 3 characteristics of Impressionist painting? ›

Impressionism describes a style of painting developed in France during the mid-to-late 19th century; characterizations of the style include small, visible brushstrokes that offer the bare impression of form, unblended color and an emphasis on the accurate depiction of natural light.

Is Impressionism light or dark? ›

Many french impressionists were interested in color theory, and it shows in their work. Impressionism was defined by its approach to light and shadow, but also by its use of bright colors.

What are the three main themes of Impressionism? ›

Impressionist Techniques

Impressionism can be defined as having three main elements that distinguish it from other types of art. These are its depiction of light, its brush strokes, and its open composition.

Videos

1. Paris Street; Rainy Day (1877) by Gustave Caillebotte
(Amuze Art Lectures)
2. Paris Street; Rainy Day (#11) - An Original Artscore by Stuart Meyer Based on Caillebotte's Painting
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3. Art institute of Chicago Gustave Caillebotte Paris Street
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4. Paris Street; Rainy Day - Gustave Caillebotte
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5. Paris Street Rainy Day - Podcast
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6. Paris Street; Rainy Day - an analysis
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