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This approach resulted in asymmetrical compositions with subject matter seemingly spilling off the canvas. R. Samuel Roche and Aric Lasher, Plans of Chicago (Architects Research Foundation/University of Chicago Press, 2009), p. 45, fig. 23, 1877, p. 392. cat. See cat. Sketch for Gustave Caillebottes Paris Street; Rainy Day (1877);Gustave Caillebotte, Public domain, via Wikimedia Commons. Gloria Groom, exh. mile Zola, often a critic of Caillebotte, praised this work in an article "Notes parisiennes: Une exposition: les peintres impressionnistes" published in Le Smaphore de Marseille in 1877. Oil on canvas, 212 x 276 cm. cat. 20, 1974), pp. The painting has linear perspective and in the horizon there are hills and buildings. (Muse dOrsay/Art Institute of Chicago, 1995), pp. Linearity is also evident in how the subject matter is portrayed in this painting. cat. 16, 17 (ill.). 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. 20; 26, n. 49. 23, cat. Chantal Georgel, La rue (Hazan, 1986), p. 75. Robert Rosenblum, Gustave Caillebotte: The 1970s and the 1870s, Artforum 15, 7 (Mar. The street to the left is Rue de Moscou, Rue Clapeyron runs through the center, and to the right is Rue de Turin. 1973), p. 11. Like other important works housed by the Art Institute of Chicagoincluding A Sunday Afternoon on the Island of La Grande Jatte, Nighthawks, and American Gothicthis seminal painting proves that any subject can inspire a masterpiece. Caroline Shields, Caillebottes Posthumous Reputation, 18941994, 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. Paris Street; Rainy Day (1877) was created during a pivotal time in the artists career. 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". He walked most days between his family home on the Rue de Lisbonne, where he had his own studio, and the boulevard cafes frequented by his artist and writer friends to the east. Robert L. Herbert, Impressionism: Art, Leisure, and Parisian Society (Yale University Press, 1988), pp. As mentioned above, the view is of the Place de Dublin, and there are three streets visible here. (Schirn Kunsthalle Frankfurt/Hirmer, 2012), pp. 1877, Charles H. and Mary F. S. Worcester Collection. 12. {{$parent.$parent.validationModel['duplicate']}}, Art Institute of Chicago, Chicago, IL, US, 1-{{getCurrentCount()}} out of {{getTotalCount()}}. The wide-angle lens, in particular it was patented in 1860 allowed photographers a larger field of vision, which was handy for capturing architecture in tight urban spaces. 78 (ill.). After several artists paintings were refused from the Paris Salon and then consequently shown at the Salon des Refuss, or Exhibition of the Rejected. J. Kirk T. Varnedoe, Caillebottes Pont de lEurope, in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. (Degass dynamic street composition, Place de la Concorde, from two years earlier, likely influenced Paris Street, Rainy Day.). Still, photography posed an obvious challenge to 19th-century painters. 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.