Pictures of Art That Depicts a Woman Dancing in the Rain

Skip to Content

Paris Street; Rainy Day

• 

Paris Street; Rainy Day

Engagement:

1877

Artist:

Gustave Caillebotte
(French, 1848-1894)

About this artwork

This complex intersection, simply minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of belatedly nineteenth-century Paris. Gustave Caillebotte grew upwardly near this district when it was a relatively unsettled hill with narrow, crooked streets. Every bit part of a new city program designed by Baron Georges-Eugène Haussmann, these streets were relaid and their buildings razed during the creative person's lifetime. In this monumental urban view, which measures about seven by 10 anxiety and is considered the creative person'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 calibration pleased Parisian audiences accustomed to the academic aesthetic of the official Salon. On the other hand, its asymmetrical composition, unusually cropped forms, rain-done mood, and candidly contemporary subject stimulated a more radical sensibility. For these reasons, the painting dominated the celebrated Impressionist exhibition of 1877, largely organized past the creative person himself. In many ways, Caillebotte's frozen poetry of the Parisian suburbia 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

Championship

Paris Street; Rainy Day

Place

Paris (Object made in)

Engagement

Made 1877

Medium

Oil on sail

Inscriptions

Inscribed at lower left: G. Caillebotte. 1877

Dimensions

212.two × 276.2 cm (83 1/ii × 108 3/4 in.)

Credit Line

Charles H. and Mary F. South. Worcester Drove

Reference Number

1964.336

IIIF Manifest The International Paradigm Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more than.

https://api.artic.edu/api/v1/artworks/20684/manifest.json

Extended information about this artwork

• Catalogue de la 3e exposition de peinture, exh. true cat. (Due east. Capiomont et V. Renault, 1877), p. 3, true cat. 1.
• Léon Mancino, "La descente de la courtille," L'art nine (April. 1877), p. 70.
• Anonymous [possibly Gaston Vassy], "La journée à Paris: Fifty'exposition des impressionnalistes," L'événement, April. 6, 1877, p. two.
• L. Chiliad., "Le salon des 'impressionnistes,'" La presse, Apr. 6, 1877, p. 2.
• "Chronique," Gazette de France, Apr. 7, 1877, p. two.
• Thomas Grimm [Pierre Véron], "Les impressionnistes," Le petit journal, Apr. 7, 1877, p. 1.
• Alexandre Pothey, "Beaux-arts," Le petit parisien, Apr. seven, 1877, p. 2.
• Paul Sébillot, "Exposition des impressionnistes," Le bien public, April. vii, 1877, p. ii.
• Bearding [possibly George Lafenestre], "Le jour et la nuit," Le moniteur universel, April. 8, 1877, p. 2.
• C. D., "L'exposition des impressionnistes," Le petit moniteur universel, Apr. 8, 1877, p. 2.
• E. Lepelletier [Edmond-Adolphe de Bouhélier], "Les impressionnistes," Le radical, Apr. 8, 1877, pp. 2–3.
• Businesswoman Schop [Théodore de Banville], "Choses et autres," Le national, Apr. viii, 1877,pp. 2–3.
• Anonymous [maybe Pierre Véron], "Les impressionnistes," La petite presse, Apr. 9, 1877, p. 3.
• Bertall [Charles-Albert d'Arnoux], "Exposition des impressionnistes," Paris-Journal, Apr. nine, 1877, pp. 1–2.
• "Exposition des impressionnistes: half dozen, rue le Peletier, 6," La petite république française, Apr. 10, 1877, p. 2.
• Léon de Lora [Louis de Fourcaud], "L'exposition des impressionnistes," Le gaulois, Apr. 10, 1877, p. 2.
• Jacques [Edmond Bazire], "Menus propos: Exposition impressionniste," L'homme libre, April. 12, 1877, p. 1.
• Roger Ballu, "Fifty'exposition des peintres impressionnistes," La chronique des arts et de la curiosité, Apr. 14, 1877, p. 147.
• Georges Rivière, "L'exposition des impressionnistes," L'impressionniste, Apr. 14, 1877, p. 4.
• Anonymous [peradventure Émile Zola], "Noted parisiennes: Une exposition; Les peintres impressionnistes," Le sémaphore de Marseille, Apr. 19, 1877, p. 1.
• A. Descubes [Amédée Descubes-Desgueraines], "L'exposition des impressionnistes," Gazette des lettres, des sciences et des arts i, 12 (Apr. twenty, 1877), p. 187.
• Ernest Fillonneau, "Les impressionnistes," Moniteur des arts, Apr. 20, 1877, p. i.
• Paul Mantz, "L'exposition des peintres impressionnistes," Le temps, April. 22, 1877, p. iii.
• Roger Ballu, "L'exposition des peintres impressionnistes," Les beaux-arts illustrés, Apr. 23, 1877, p. 392.
• Philippe Burty, "Exposition des impressionnistes," La république française, Apr. 25, 1877, p. 3.
• Charles Bigot, "Causerie artistique: L'exposition des 'impressionnistes,'" La revue politique et littéraire, Apr. 28, 1877, p. 1047.
• Frédéric Chevalier, "Les impressionnistes,"L'artiste, May 1, 1877, p. 332.
• Ph. M., "Arts: Les impressionnistes," Revue des idées nouvelles 11 (May 1, 1877), p. 167.
• Georges Rivière, "Les intransigeants et les impressionnistes: Souvenir du salon libre de 1877," L'artiste, Nov. 1, 1877, p. 302.
• Durand-Ruel, Paris, Exposition rétrospective d'oeuvres de G. Caillebotte, exh. cat. (E. Moreau, 1894), p. v, true cat. 47.
• Jacques Crevelier, "À travers fifty'art: Caillebotte," Le soir, June 8, 1894.
• Lionello Venturi, Les archives de 50'impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; Mémoires de Paul Durand-Ruel; Documents, vol. ii (Durand-Ruel, 1939), p. 319.
• Galerie Beaux-Arts, Rétrospective Gustave Caillebotte, au profit du Musée de Rennes, exh. cat. (Galerie Beaux-Arts, 1951), cat. xiii.
• Marie Berhaut, Caillebotte, with an introduction by Daniel Wildenstein (Wildenstein, 1951), front comprehend (detail), dorsum cover (item); cat. 28.
• J. Bouret, "United nations peintre de notre temps," Art, beaux-arts, littérature, spectacles, May 25, 1951, p. i (ill.).
• Raymond Cogniat et al., with the assist of Robert Maillard, Dictionnaire de la peinture moderne (Hazan, 1954), p. 43.
• Henri Perruchot, "Scandale au Luxembourg," L'oeil 9 (Sept. 1955), pp. sixteen–17 (sick.).
• Portland (Ore.) Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., exh. cat. (Portland Art Association, 1956), pp. 47, cat. 78; 122, true cat. 78 (ill.).
• Bob Sanford, "Fine art of Globe Importance to Exist at Nelson Gallery," Kansas Metropolis Star, Nov. 25, 1956, p. E1 (ill.).
• Maurice Sérullaz, Les peintres impressionnistes (Pierre Tisné, 1959), p. 99.
• Dayton (Ohio) Fine art Museum, French Paintings, 1789–1929: From the Drove of Walter P. Chrysler Jr., exh. true cat. (Dayton Art Museum, 1960), pp. 64, cat. 56 (ill.); 131, cat. 56.
• "Fine art: U.S. Exhibitions Elsewhere," New York Times, Apr. 10, 1960, p. 12X (sick.).
• Art Institute of Chicago, The Art Establish of Chicago Annual Report, 1964–65 (Art Constitute of Chicago, 1965), pp. 15, 29.
• John Maxon, "Place de l'Europe on a Rainy Day," Agenda of the Fine art Institute of Chicago 59, 3 (May 1965), pp. 8–9 (ill.).
• Denys Sutton, "Gustave Caillebotte," in Gustave Caillebotte, 1848–1894: A Loan Exhibition in Aid of the Hertford British Hospital in Paris, exh. true cat. (Wildenstein, 1966), p. 9.
• Max Wykes-Joyce, "Maecenas at Work: Gustave Caillebotte," Fine art Review 18, 11 (June 11, 1966), p. 269.
• John Maxon, "Some Recent Acquisitions," Apollo 84, 55 (Sept. 1966), front comprehend (item); pp. 171, 216.
• Marie Berhaut, Caillebotte: The Impressionist, trans. Diana Imber (International Art Book, 1968), pp. 5; 17, fig. seven; 28; 34; 36; 46; 50.
• Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 1800–1900, exh. true cat. (Minneapolis Institute of Arts, 1969), front and back covers (details); pp. 38–39, true cat. 7 (ill.).
• Robert Rosenblum, "The Nineteenth-Century Franc Revalued," in Minneapolis Plant of Arts, The Past Rediscovered: French Paintings, 1800–1900, exh. true cat. (Minneapolis Institute of Arts, 1969), p. xix.
• Robert Rosenblum, "The 19th-Century Franc Revalued," Fine art News 68, 4 (Summertime 1969), front cover (particular); pp. 5 (ill.); sixty.
• Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Fine art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 62, pl. 49; 163.
• John Maxon, The Art Found of Chicago (Abrams, 1970), pp. 95 (ill.), 278.
• Linda Nochlin, Realism, Style and Culture (Penguin, 1971), pp. 168; 169, fig. 103; 264.
• "Summertime Gallery Talks," Calendar of the Art Institute of Chicago 65, iii (May–Aug. 1971), p. 18.
• "Lecturer's Choice," Message of the Art Found of Chicago 67, 3 (May–June 1973), p. 11.
• "Lecturer'due south Choice," Bulletin of the Art Institute of Chicago 67, iv (Jul.–Aug. 1973), p. 11.
• Lydie Huyghe, "Notices Bio-Bibliographiques," in René Huyghe, La relève du réel: La peinture française au XIXe siècle; Impressionisme, symbolisme (Flammarion, 1974), p. 431.
• René Huyghe, La relève du réel: La peinture française au XIXe siècle; Impressionisme, symbolisme (Flammarion, 1974), p. 154, no. 133 (sick.).
• Gaëtan Picon, Émile Zola: Le bon combat, de Courbet aux impressionnistes (Hermann, 1974), pp. 189, 243.
• J. Kirk T. Varnedoe, "Caillebotte's Pont de 50'Europe: A New Camber," Art International: The Lugano Review 18, 4 (April. 20, 1974), pp. 29, fig. 5; 41, 58.
• Thousand. Therese Southgate, "About the Cover," JAMA: The Periodical of the American Medical Association 232 (Apr. 14, 1975), forepart encompass (ill.).
• Marie Berhaut, introduction to 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. true cat. (Museum of Fine Arts, Houston, 1976), p. 15.
• Peter Galassi, "Caillebotte's Method," in 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), pp. 192, 193, 199–200, 201 (ill.), 202–06.
• J. Kirk T. Varnedoe, "Caillebotte: An Evolving Perspective," in J. Kirk T. Varnedoe and Thomas P. Lee, Gustave Caillebotte: A Retrospective Exhibition, with contributions past J. Kirk T. Varnedoe, Marie Berhaut, Peter Galassi, and Hilarie Faberman, exh. cat. (Museum of Fine Arts, Houston, 1976), pp. 47, 56, 57.
• J. Kirk T. Varnedoe, with Hilarie Faberman, "Gustave Caillebotte: A Biography," in 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), pp. 36, 40, 46.
• J. Kirk T. Varnedoe and Peter Galassi, "Caillebotte's Infinite," in 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), pp. threescore, 62, 64, 68, 69, 72, 73.
• 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), pp. 23, cat. 25 (sick.); 74; 106; 108; 110–13, cat. 25 (ill.); 116; 119; 122; 129; 133; 210–11; 212–thirteen; 214–sixteen.
• Kirk Varnedoe, "Gustave Caillebotte in Context," Arts Magazine 50, 9 (May 1976), pp. 95; 96; 97, fig. 8; 98; 99.
• Robert Rosenblum, "Gustave Caillebotte: The 1970s and the 1870s," Artforum 15, 7 (Mar. 1977), pp. 47, 48 (ill.).
• Alfred Werner, "Joys Forever?," Art and Artists 11, 132 (Mar. 1977), pp. 5, 6–7 (ill.).
• Marie Berhaut, "Gustave Caillebotte et le réalisme impressionniste," L'oeil 268 (Nov. 1977), forepart encompass (detail); pp. 42 (ill.), 43, 46.
• Fine art Establish of Chicago, 100 Masterpieces (Fine art Institute of Chicago, 1978), pp. 96–97, fig. 53.
• Marie Berhaut, Caillebotte: Sa vie et son oeuvre; Catalogue raisonné des peintures et pastels (Bibliothèque des Arts/Fondation Wildenstein, 1978), pp. 43–45 (sick.); 98–99, cat. 52 (ill.); 249; 261.
• J. Patrice Marandel, The Fine art Establish of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 76–77 (ill.).
• J. Patrice Marandel, "New Installation of Earlier Paintings," Message of the Art Institute of Chicago 73, i (Jan.–Feb. 1979), p. 15.
• J. Kirk T. Varnedoe, "In Particular: Gustave Caillebotte'southward The Streets of Paris on a Rainy Day," Portfolio 1, 5 (Dec. 1979–Jan. 1980), front cover (detail); pp. three (detail), iv, 42, 43 (ill.), 45–46, 47 (detail).
• Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 133; 166 (ill.); 167 (detail).
• Jennifer A. Martin Bienenstock, "Childe Hassam'due south Early on Boston Cityscapes," Arts Mag 55, three (Nov. 1980), p. 170.
• Dennis Paul Costanzo, "Cityscape and the Transformation of Paris during the Second Empire" (Ph.D. diss., University of Michigan, 1981), pp. 298–99; 302; 309; 315; 466, pl. 222.
• Patricia Failing, "The Objects of Their Affection," Art News 81, 9 (November. 1982), p. 124 (ill.).
• Fine art Constitute of Chicago, Pocket Guide to the Fine art Institute of Chicago (Fine art Institute of Chicago, 1983), pp. 8 (sick.); 25, no. 28 (ill).
• T. J. Clark, The Painting of Modernistic Life: Paris in the Art of Manet and His Followers (Knopf, 1984), pp. x; 15, fig. 5.
• Robert Rosenblum and H. Westward. Janson, 19th-Century Art (Abrams, 1984), pp. 342, pl. 61; 365.
• Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Fine art Museum, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], trans. Akihiko Inoue, Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. cat. (Nippon Japan Tv set Network, 1985), pp. twenty, 21 (ill.).
• 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. Gottfried Boehm (Fink, 1985), pp. 13; 15, fig. 3; 31, n. 4; 32, due north. 11; 33, n. 22.
• Richard R. Brettell, "The 'First' Exhibition of Impressionist Painters," in The New Painting: Impressionism, 1874–1886, ed. Charles Due south. Moffett, exh. true cat. (Fine Arts Museums of San Francisco, 1986), pp. 196–97.
• Chantal Georgel, La rue (Hazan, 1986), p. 75.
• Charles Due south. Moffett, ed., The New Painting: Impressionism, 1874–1886, with the help of Ruth Berson, Barbara Lee Williams, and Fronia East. Wissman, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 203; 208–09, cat. 38 (sick.).
• Marker Stevens, "When Impressionism Was New," Newsweek, February. iii, 1986, p. 71 (ill.).
• Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 44 (detail), 45–46, 47 (ill.), 117.
• Anthea Callen, Techniques of the Impressionists (New Burlington, 1987), pp. 92, 94 (sick.).
• Kirk Varnedoe, Gustave Caillebotte (Yale University Press, 1987), pp. 2; 4; 11; 18; lxxx; 84; 88; 89, pl. 18; ninety; 91 (item); 92; 93 (item); 94–95; 110; 176; 187–91; 206; 207.
• Michael Findlay, "The Caillebotte Heritance," Christie's 8, iv (February.–Mar. 1987), p. 3 (sick.).
• Kathleen Adler, Unknown Impressionists (Phaidon, 1988), pp. 8; 70; 78, pl. 64.
• Art Institute of Chicago, Master Paintings in the Fine art Constitute of Chicago, selected past James N. Wood and Katharine C. Lee (Art Found of Chicago/New York Graphic Club/Little, Brown, 1988), pp. 9, 58 (ill.).
• Robert L. Herbert, Impressionism: Art, Leisure, and Parisian Society (Yale University Press, 1988), pp. xx; 22, pl. 26.
• John Milner, The Studios of Paris: The Capital of Art in the Late Nineteenth Century (Yale Academy Press, 1988), pp. 163; 164, pl. 189.
• Belinda Thomson and Michael Howard, Impressionism (Bison, 1988), p. 36 (ill.).
• Kirk Varnedoe, "Late Recognition for One of the Original Impressionists," Chronicle of Higher Education, Feb. 3, 1988, p. B27 (ill.).
• E. A., "Impressions of Caillebotte," Connoisseur 218, 915 (Apr. 1988), p. 48 (sick.).
• Jack Perry Chocolate-brown, "The Return of the Salon: Jean Gérôme in the Art Found," Fine art Institute of Chicago Museum Studies xv, 2 (1989), p. 157.
• Jean Chardeau, Les dessins de Caillebotte (Hermé, 1989), pp. 9, 12, 62–63 (sick.), 64 (item), 66 (detail), 67 (detail), 68 (particular), 70 (detail).
• Anne Distel, "Charles Deudon (1832–1914), collectionneur," Revue de l'art 86 (1989), p. 61, n. 16.
• Kirk Varnedoe, "Les dessins de Gustave Caillebotte," in Jean Chardeau, Les dessins de Caillebotte (Hermé, 1989), p. seven.
• David McCracken, "Picking Chicago'south Top Fine art Hits," Chicago Tribune, Aug. eighteen, 1989, p. vii.3 (ill.).
• Norma Broude, "A World in Light: French republic and the International Impressionist Motility, 1860–1920," in Earth Impressionism: The International Movement, 1860–1920, ed. Norma Broude (Abrams, 1990), pp. 18, pl. 12; nineteen.
• William H. Gerdts, "Impressionism in the U.s.," in Earth Impressionism: The International Motility, 1860–1920, ed. Norma Broude (Abrams, 1990), p. 57.
• John Milner, Atelier d'artistes: Paris, capital des arts à la fin du XIXe siècle, trans. Béatrix Blavier (Du May, 1990), p. 155 (sick.).
• Katsumi Miyazaki, Insho-ha no miryoku [Attractions of Impressionism], Neat History of Fine art (Dohosha Shuppan, 1990), pp. 92–93 (ill.), 143 (ill.).
• John Russell Taylor, Impressionist Dreams: The Artists and the Globe They Painted (Barrie & Jenkins, 1990), p. 36 (ill.).
• Christopher Andreae, "Gustave Caillebotte'due south 'New' Paris," Christian Science Monitor, Jan. 29, 1990, pp. 16, 17 (ill.).
• Michael Boodro, "Art and Manner: A Fine Romance," Art News 89, 7 (Sept. 1990), p. 126 (ill.).
• Jean des Cars and Pierre Pinon, Paris-Haussmann: "Le pari d'Haussmann," exh. cat. (Pavillon de l'Armory, 1991), p. 313.
• Bernard Denvir, Impressionism: The Painters and the Paintings (Studio Editions, 1991), pp. 244, pl. 233; 418.
• Mary Ellen Hashemite kingdom of jordan Haight, Paris Portraits: Renoir to Chanel; Walks on the Right Depository financial institution (Gibbs Smith, 1991), pp. 43 (sick.), 44.
• Martha Kapos, ed., The Impressionists: A Retrospective (Hugh Lauter Levin/Macmillan, 1991), p. 119, pl. 39.
• Michael F. Zimmermann, Les mondes de Seurat: Son oeuvre et le débat artistique de son temps (Fonds Mercator, 1991), p. 126, fig. 236.
• Patrick Bade, Renoir (Studio Editions, 1992), pp. 16 (sick.), 142.
• Hubert Beck, "Urban Iconography in Nineteenth-Century American Painting: From Impressionism to the Ashcan School," in Thomas W. Gaehtgens and Heinz Ickstadt, American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art, Issues and Debates (Getty Middle for the History of Fine art and the Humanities/University of Chicago Press, 1992), pp. 324; 326–27, fig. v.
• 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. MaryAnne Stevens, exh. cat. (Royal Academy of Arts, 1992), pp. xv; xvii, fig. 5.
• Otto Friedrich, Olympia: Paris in the Age of Manet (HarperCollins, 1992), opp. 77 (ill.).
• Kathleen Pyne, "Resisting Modernism: American Painting in the Culture of Disharmonize," in Thomas Westward. Gaehtgens and Heinz Ickstadt, American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art, Issues and Debates (Getty Eye for the History of Fine art and the Humanities/University of Chicago Press, 1992), p. 290.
• MaryAnne Stevens, ed., Alfred Sisley, exh. cat. (Purple Academy of Arts, London/Musée d'Orsay/Walters Art Gallery/Yale University Press, 1992), p. 134.
• Fine art Found of Chicago, The Art Constitute of Chicago: The Essential Guide, selected by James Northward. Woods and Teri J. Edelstein, entries written and compiled past Sally Ruth May (Fine art Institute of Chicago, 1993), p. 154 (ill.).
• Fine art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Found of Chicago, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), pp. six, 21, 69 (sick.), 325.
• Gloria Groom, Édouard Vuillard: Painter-Decorator; Patrons and Projects, 1892–1912 (Yale University Press, 1993), p. 171, pl. 271.
• Charles Harrison, "Impressionism, Modernism, and Originality," in Francis Frascina et al., Modernity and Modernism: French Painting in the Nineteenth Century, Modernistic Art: Practices and Debates (Yale Academy Press/Open Academy, 1993), pp. 158; 159, pl. 150; 169.
• Jean-Marie Businesswoman, Caillebotte: Impressionniste (Herscher, 1994), pp. 24–25 (ill.).
• Marie Berhaut, Gustave Caillebotte: Catalogue raisonné des peintures et pastels, with assist past Sophie Pietri (Wildenstein Institute, 1994), pp. 33; 34; 92–93, cat. 57 (ill.); 282.
• Éric Darragon, Caillebotte, Tout l'art (Flammarion, 1994), pp. 59, 60–61 (ill.), 62, 131, 147.
• Anne Distel, "Chronologie," 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. 353.
• 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; xxx, 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. true 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, north 44; 235; 247.
• Jean-Jacques Lévêque, Gustave Caillebotte: L'oublié de fifty'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. true 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 state of affairs de Caillebotte dans l'histoire de l'fine art," in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Jeanne Bouniort, exh. true 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 Mod Life, 1885–1915, with the assistance of Due north. Mishoe Brennecke, exh. true cat. (Metropolitan Museum of Art, New York/Abrams, 1994), pp. 12; 174; 175, fig. 160.
• Marie-Amélie Anquetil, "Caillebotte: Peintre et cinéaste," Caillebotte, Dossier de l'art 20 (Sept. 1994), pp. 51, 54, 56, 60.
• Marie-Amélie Anquetil, "Dans les allées d'une oeuvre," Caillebotte, Dossier de l'art twenty (Sept. 1994), pp. 12–thirteen (sick.).
• Jérôme Coignard, "Caillebotte: Le blues des grands boulevards," Beaux-arts 126 (Sept. 1994), front cover (item); pp. iii (sick.), 58–59 (item), 64, 68.
• Charles Storch, "Non All Fine art Institute Visitors Want to Pore Over New 'Rainy Day,'" Chicago Tribune, Sept. 14, 1994, p. xx.
• 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 Guild (Princeton Academy Press, 1995), pp. xii; 92, fig. 63.
• Anne Distel, "The Nascency 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 Found 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. true cat. (Musée d'Orsay/Art Establish 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. true 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 past Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. cat. (Musée d'Orsay/Art Institute of Chicago, 1995), front cover (particular); p. eleven.
• 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/Fine 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. true 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 past Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. cat. (Musée d'Orsay/Art Constitute of Chicago, 1995), pp. 190, north. 43; 196; 209.
• David P. Hashemite kingdom of jordan, Transforming Paris: The Life and Labors of Baron Haussmann (Gratuitous 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 past Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. true cat. (Musée d'Orsay/Art Institute of Chicago, 1995), pp. 88; 92; 94–98; 99; 100; 101; 110; 112; 116–22, cat. 35 (sick.).
• Kirk Varnedoe, "Odd Homo In: A Brief Historiography of Caillebotte's Changing Roles in the History of Fine 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. true cat. (Musée d'Orsay/Art Establish of Chicago, 1995), pp. 13, 14.
• "Historia del impresionismo," Saber ver: Lo contemporáneo del arte xx (January.–February. 1995), p. 53 (sick.).
• 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. iv; 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.), lxx.
• Patty Lurie, Guide to Impressionist Paris (Lilburne/Parigramme, 1996), pp. 88–89 (ill.).
• Marietta S. Millet, Calorie-free 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 Fine art, Los Angeles/Scalo, 1997), p. 27 (ill.).
• Anne Grevstad-Nordbrock, "A Stolen Kiss: Robert Doisneau'south Photographic Icon," Visual Resources: An International Journal of Documentation thirteen, ii (1997), pp. 192; 193, fig. 2.
• M. Therese Southgate, The Art of JAMA: One Hundred Covers and Essays from the Periodical of the American Medical Association (Mosby, 1997), pp. four–5 (ill.).
• Clare Kunny, "Taking the Bout: How a Museum Lecturer Looks at the Museum," New Fine art Examiner 24, 5 (Feb. 1997), pp. 36; 37; 38, n. 1.
• Rose-Marie and Rainer Hagen, "Unter dem Regenschirm herrscht eine noble Einsamkeit," Fine 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. true cat. (National Gallery of Fine art, Washington, D.C./Yale University Press, 1998), pp. eighty; 86, fig. 76; 87; 90; 91; 105.
• Juliet Wilson-Bareau, Manet, Monet, la gare Saint-Lazare, trans. Isabelle Taudière, exh. true cat. (Réunion des Musées Nationaux/Yale Academy 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 Found of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Woods (Art Establish of Chicago/Hudson Hills, 1999), pp. viii–9, 54 (ill.).
• Richard R. Brettell, Modern Art, 1851–1929: Capitalism and Representation (Oxford University Printing, 1999), p. 54, fig. 37.
• Steve Edwards, Art and Its Histories: A Reader (Yale University Press/Open up 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 (Bound 1999), pp. 25, fig. 16; 26–27; 31; 44; 45.
• Sotheby's, New York, La Belle Epoque: Paintings, Drawings and Sculpture, auction true cat. (Sotheby's, New York, May v, 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 Establish of Chicago/Hudson Hills, 2000), p. 55 (sick.).
• Fine art Institute of Chicago, Treasures from the Art Institute of Chicago, selected by James N. Woods, with commentaries by Debra N. Mancoff (Fine art Plant 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., Example Western Reserve Academy, 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 (sick.).
• Patricia Thousand. Berman, James Ensor: Christ'southward Entry into Brussels in 1889, Getty Museum Studies on Fine art (J. Paul Getty Museum, 2002), pp. twenty; 22–23, fig. twenty.
• 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–ii (2002), pp. 155–56; 166, fig. two.
• Pier Giovanni Castagnoli, Barbara Cinelli, and Maria Mimita Lamberti, De Nittis e la pittura della vita moderna in Europa (Galleria Civica d'Arte Moderna east 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 eastward Contemporanea, 2002), pp. 50–51 (ill.).
• Sculpture Foundation, Solid Impressions: J. Seward Johnson, Jr. (Sculpture Foundation, 2002), p. ten (ill.).
• Sylvie Patin, Fifty'impressionisme (Bibliothèque des Arts, 2002), pp. 134; 136, fig. 99; 298.
• J. Kirk T. Varnedoe, "Caillebotte'south 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; eighteen, n. vii; nineteen, north. 11.
• Richard R. Brettell, "A View from Portland: 110 Years of Mod French Art in Portland," in Paris to Portland: Impressionist and Post-Impressionist Masters in Portland Collections, exh. cat. (Portland Fine art Museum, 2003), p. xxx, fig. ii.
• Corcoran Gallery of Art, Beyond the Frame: Impressionism Revisited; The Sculptures of J. Seward Johnson, Jr., with an essay by Petra 10-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. fifteen; 16, fig. 5; 23.
• Michel Laclotte, The Art and Spirit of Paris (Abbeville, 2003), pp. 900–903 (particular); 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 Divergence: Feminism, Femininity, and the Histories of Art (Routledge, 2003), pp. 72; 73, fig. iii.2.
• Christie's, New York, Impressionist and Mod Art (Evening Sale), auction cat. (Christie'southward, New York, Nov. iv, 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 Due east. Barker et al., exh. cat. (Metropolitan Museum of Art/Yale University Printing, 2004), pp. 43, fig. 37; 44.
• Sharon 50. Hirsh, Symbolism and Modernistic Urban Guild (Cambridge Academy Printing, 2004), pp. 63; 64, fig. 24; 67; 79.
• John House, Impressionism: Paint and Politics (Yale Academy 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 east 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 Printing, 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. true cat. (Fondation de fifty'Hermitage/Bibliothèque des Arts, 2005), pp. 27; 28; 29, fig. 3.
• Nancy Forgione, "Everyday Life in Motion: The Art of Walking in Tardily-Nineteenth-Century Paris," Fine art Bulletin 86, 4 (Dec. 2005), pp. 675, fig. ten; 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 Being in the Modern City," in Paris and the Countryside: Mod Life in Late-19th-Century France, exh. true cat. (Portland Museum of Art, 2006), pp. 46; 47, fig. 35.
• Ruth E. Iskin, Modern Women and Parisian Consumer Civilization 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 Mural (Ashgate, 2007), pp. 68; 69, fig. 3.3.
• Clive Scott, Street Photography: From Atget to Cartier-Bresson (I. B. Tauris, 2007), pp. 10; 51, fig. 12.
• Peter Bürger, "Media Differences: Caillebotte and Maupassant every bit 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 Canoeing," in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with boosted 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: Main Paintings from the Art Establish of Chicago, with the assistance of Dorota Chudzicka and Jill Shaw, exh. true cat. (Art Found of Chicago/Kimbell Fine art Museum, 2008), pp. two (detail); iv; nineteen; 55; 56–57, true cat. 18 (sick.); 85. Simultaneously published as Gloria Groom and Douglas Druick, The Age of Impressionism at the Art Plant of Chicago, with the assistance of Dorota Chudzicka and Jill Shaw (Art Institute of Chicago/Yale Academy Press, 2008), pp. ii (detail); four; nineteen; 55; 56–57, cat. xviii (ill.); 85.
• Gary Hedin, "Radical Perspectives I: Visions of Modern Paris," in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with boosted essays by Peter Bürger et al., exh. cat. (Hatje Cantz, 2008), p. 56.
• Art Constitute of Chicago, The Essential Guide (Fine art Constitute 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 (sick.).
• 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.seven.
• James Rondeau, "New Art/Old Museum: Gimmicky 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; eighteen–19 (detail); xxx–31, pl. 1; 33 (detail).
• John Russell Taylor, Exactitude: Hyperrealist Art Today, ed. Maggie Bollaert (Thames & Hudson, 2009), pp. 28 (sick.), 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. true cat. (Folkwang/Steidl, 2010), pp. 75, 77.
• Malcolm Park, "Iii Street Drawings past Gustave Caillebotte," Burlington Mag 152, 1289 (Aug. 2010), pp. 536, fig. xxx; 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. xiii.
• 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," Fine art Bulletin 93, 2 (June 2011), p. 199, fig. half dozen.
• Colin B. Bailey, Renoir, Impressionism, and Total-Length Painting, exh. cat. (Frick Collection/Yale University Press, 2012), pp. 150; 151, fig. fifteen; 154.
• Gloria Groom, ed., Impressionism, Fashion, and Modernity, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d'Orsay/Yale Academy Printing, 2012), p. 291, cat. 93 (ill.).
• Gloria Groom, ed., 50'impressionnisme et la way, exh. cat. (Musée d'Orsay/Skira Flammarion, 2012), p. 298, true cat. 35.
• Gloria Groom, "Spaces of Modernity," in Impressionism, Manner, 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. true cat. (Musée d'Orsay/Skira Flammarion, 2012), pp. 46, 47.
• Aileen Ribeiro, "Gustave Caillebotte, Paris Street; Rainy Day," in Impressionism, Mode, and Modernity, ed. Gloria Groom, exh. cat. (Art Plant of Chicago/Metropolitan Museum of Fine art, New York/Musée d'Orsay/Yale Academy 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 Upwards: The Architectural Aesthetics of the Paris Street," in Impressionism, Style, and Modernity, ed. Gloria Groom, exh. cat. (Fine art Found of Chicago/Metropolitan Museum of Art, New York/Musée d'Orsay/Yale University Press, 2012), p. 154.
• Art Institute of Chicago, Main Paintings in the Art Institute of Chicago, selected past Douglas Druick (Art Found of Chicago/Yale University Printing, 2013), pp. ix, 54 (sick.).
• Claude P. J. Ghez and Pietro Galifi della Bagliva, "Deconstructing Gustave Caillebotte's Le Pont de 50'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, Disharmonize 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 Mod 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 Pianoforte," in Gustave Caillebotte: Impressionist in Mod Paris, ed. Shimbata Yasuhide, exh. true 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. K. Shackelford, Gustave Caillebotte: The Painter's Eye, with essays past Michael Marrinan, Alexandra Thou. 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'due south Eye," in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter'due south Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. cat. (National Gallery of Fine art, Washington, D.C./Kimbell Art Museum, 2015), pp. 108 (item); 110; 114–15; 116–17; 118; 264, n. 9.
• Michael Marrinan, "Caillebotte's Deep Focus," in Mary Morton and George T. Chiliad. Shackelford, Gustave Caillebotte: The Painter's Eye, with essays by Michael Marrinan, Alexandra M. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. cat. (National Gallery of Fine 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'south Eye, with essays by Michael Marrinan, Alexandra M. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. cat. (National Gallery of Fine 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'due south Eye, with essays by Michael Marrinan, Alexandra Chiliad. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. cat. (National Gallery of Fine art, Washington, D.C./Kimbell Art Museum, 2015), pp. 124; 125; 133, cat. iv (sick.); 138.
• Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter'due south Eye, with essays by Michael Marrinan, Alexandra Yard. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. true cat. (National Gallery of Fine art, Washington, D.C./Kimbell Art Museum, 2015), dorsum comprehend, 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 past Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. true cat. (National Gallery of Art, Washington, D.C./Kimbell Fine art Museum, 2015), pp. xl, 41, 45, 46–47, 48, 49, 55.
• Caroline Shields, "Caillebotte'due south Posthumous Reputation, 1894–1994," in Mary Morton and George T. Yard. 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. Thousand. Shackelford, Gustave Caillebotte: The Painter's Eye, with essays by Michael Marrinan, Alexandra Thousand. 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 Establish of Chicago, 2015). https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/department/574/574_anchor
• Jill Shaw, Framing Life, cat. exh. (The Detroit Institute of Art/ Yale University Printing, 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. iii and four (with drawings superimposed).

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

The artist (died 1894); by descent to Martial Caillebotte (brother) and Marie Minoret (Martial's married woman), Paris, 1894 [this and the two following per Portland Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., exh. true cat. (Portland Fine art Clan, 1956), p. 47. Encounter also fact sheet provided by Wildenstein and Company, re-create in curatorial object file]; placed with Georges Minoret (blood brother-in-law of Martial Caillebotte), Château de Montglat, Provins, French republic, 1900; Returned to Albert and Geneviève Chardeau (girl 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 past 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 Visitor, 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 Commission 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, Fine art Institute of Chicago].

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

Share

Explore Further

• Nearly Like
• Impressionism
• Oil on canvas
• Gustave Caillebotte
• 1800–1900
• All Tags

Related artworks

• Calf's Head and Ox Natural language, c. 1882
  Gustave Caillebotte
• Yet Life: Corner of a Tabular array, 1873
  Henri Fantin-Latour
• Notwithstanding Life with Flowers, 1881
  Henri Fantin-Latour
• Roses in a Basin, 1881
  Henri Fantin-Latour
• Rabbit Warren at Pontoise, Snow, 1879
  Camille Pissarro
• The Church of Overschie, 1866
  Johan Barthold Jongkind
• The Loire, 1896
  Alfred Sisley
• Landscape forth the Seine with the Institut de French republic and the Pont des Arts, c. 1875
  Alfred Sisley
• Mural at Chailly, 1865
  Frédéric Bazille
• The Banks of the Marne in Wintertime, 1866
  Camille Pissarro
• Tight-Rope Walker, c. 1885
  Jean Louis Forain
• Woman in a Garden, 1882/83
  Berthe Morisot

cardwellretiould1982.blogspot.com

Source: https://www.artic.edu/artworks/20684/paris-street-rainy-day

Share this post