Marie Berhaut, Caillebotte, with an introduction by Daniel Wildenstein (Wildenstein, 1951), front cover (detail), back cover (detail); cat. Christopher Lloyd, Les dessins de Gustave Caillebotte, in Juliane Cosandier, Caillebotte: Au coeur de limpressionnisme, assisted by Sylvie Wuhrmann, exh. Rodolphe Rapetti, Paris, vu dune fentre, in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 18481894, trans. Mary Morton, Caillebotte in Contemporary Criticism, in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painters Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, Stphane Gugan, and Sarah Kennel, exh. 13. xvii; xviii, fig. The painting has linear perspective and in the horizon there are hills and buildings. 203; 20809, cat. Cat. (Runion des Muses Nationaux, 1994), p. 347. 4345 (ill.); 9899, cat. 14, 1986, not in cat. cat. 2; 4; 11; 18; 80; 84; 88; 89, pl. (Folkwang/Steidl, 2010), pp. 6. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. Kirk Varnedoe, Les dessins de Gustave Caillebotte, in Jean Chardeau, Les dessins de Caillebotte (Herm, 1989), p. 7. 19, 1956; Kansas City, William Rockhill Nelson Gallery of Art, Dec. 230, 1956; Detroit Institute of Arts, Jan. 18Feb. Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. This creates the strong illusion that you are walking or standing on the same street. xv; xvii, fig. Robert Rosenblum and H. W. Janson, 19th-Century Art (Abrams, 1984), pp. 8; 98; 99. (Folkwang/Steidl, 2010), pp. Ernest Fillonneau, Les impressionnistes, Moniteur des arts, Apr. 151; 152, fig. Richard R. Brettell, Camille Pissarro and Urban View Painting: An Introduction, in Richard R. Brettell and Joachim Pissarro, The Impressionists and the City: Pissarros Series Paintings, ed. Paris Street; Rainy Dayremained in the Caillebotte family until 1955, when it was purchased by prolific art collector Walter P. Chrysler Jr. Less than a decade later, Chrysler sold it Wildenstein and Company, a historic art dealership, who, in turn, sold to the Art Institute of Chicago in 1964. 5. 1979), p. 15. Kuraishi Shino, Caillebotte and Photographic Sense of Vision, in Gustave Caillebotte: Impressionist in Modern Paris, ed. Marie Berhaut, Gustave Caillebotte: Catalogue raisonn des peintures et pastels, with assistance by Sophie Pietri (Wildenstein Institute, 1994), pp. 171, 216. She wears a hat, veil, diamond earring, demure brown dress, and a fur lined coat, described in 1877 as "modern or should I say, the latest fashion". 29, fig. 10, 1877, p. 2. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), p. 86. Receive our Weekly Newsletter. 95; 96; 97, fig. cat. Chantal Georgel, La rue (Hazan, 1986), p. 75. (Museum of Fine Arts, Houston, 1976), pp. The strong vertical of the central green lamp post divides the painting; a horizontal alignment breaks the painting into quarters; the gaslight at the center of the picture throws shadows on the wet cobblestones, and divides the composition in two. These photographic tensions between what was technically faithful yet experientially false fascinated Caillebotte perhaps (who knows?) They are unambiguously middle class. He tended to use brighter colours and 1. Haussmann buildingswhich, by 1877, had popped up all across Paris as part of Baron Haussmann's major modernization projectrecede into the background; reflective, rain-soaked cobblestone streets compose the foreground; and streams of umbrella-covered figures cascade across the canvas. Thomas Grimm [Pierre Vron], Les impressionnistes, Le petit journal, Apr. Perspective in Gustave Caillebottes Paris Street; Rainy Day (1877);Gustave Caillebotte, Public domain, via Wikimedia Commons. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 268. A study for Gustave Caillebottes Paris Street; Rainy Day (1877);Gustave Caillebotte, Public domain, via Wikimedia Commons.