Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 18001900, exh. Gloria Groom, exh. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. separation between the floors are clearly indicated. What Makes Gustave Caillebotte's Paris Street Rainy Day So Special? 28; 29, fig. Brancusi's studio, 1920. Research and experiments conducted by the Institute have presented compelling evidence that Caillebotte used the optical device camera lucida for the preparatory sketches of the painting. Norma Broude, A World in Light: France and the International Impressionist Movement, 18601920, in World Impressionism: The International Movement, 18601920, ed. Napoleon sought to open the city and give it more air and light. 16; 2627; 31; 44; 45. The neoclassical buildings reflect the construction works of Baron Haussmann. exh. 12.1; 310. We only see half of his figure, the rest is cut off by the border of the painting, however, this gives even more of an impression of how a photograph would look; a fleeting moment in time, seemingly nothing special. Linear perspective Texture gradient Relative size This question hasn't been solved yet 78; 122, cat. Seven feet tall and nine feet wide, the canvas appears monumental--as an oil painting--and perfectly life-size as an urban vista. Omissions? 35 (ill.); Art Institute of Chicago, as Gustave Caillebotte: Urban Impressionist, Feb. 18May 28, 1995; Los Angeles County Museum of Art, June 22Sept. 104, 110. 60, 66. The right side of the painting appears denser and busier, depicting the three primary figures filling it up who almost enters our space. Sylvie Patin, Limpressionisme (Bibliothque des Arts, 2002), pp. Christies, New York, Impressionist and Modern Art (Evening Sale), sale cat. (Portland Museum of Art, 2006), pp. John House, Impressionism: Paint and Politics (Yale University Press, 2004), pp. Art: U.S. 190, n. 43; 196; 209. cat. 95; 96; 97, fig. Diana Imber (International Art Book, 1968), pp. 25, 1877, p. 3. Henry Plummer, Masters of Light, vol. Robyn Roslak, Neo-Impressionism and Anarchism in Fin-de-Sicle France: Painting, Politics and Landscape (Ashgate, 2007), pp. Caillebotte has certainly captured a snapshot view of a district in Paris, and now, over a century later, we bear witness to a time of change, expansion, reorder, and quite simply: just another rainy day in the City of Light. 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.
