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Paul Sébillot, “Exposition des impressionnistes,” Le bien public, Apr.Alexandre Pothey, “Beaux-arts,” Le petit parisien, Apr.Thomas Grimm, “Les impressionnistes,” Le petit journal, Apr.G., “Le salon des ‘impressionnistes,’” La presse, Apr. Anonymous, “La journée à Paris: L’exposition des impressionnalistes,” L’événement, Apr.Léon Mancino, “La descente de la courtille,” L’art 9 (Apr.Catalogue de la 3e exposition de peinture, exh.Worcester Collection Reference Number 1964.336 IIIF Manifest The International Image 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. Status On View, Gallery 201 Department Painting and Sculpture of Europe Artist Gustave Caillebotte Title Paris Street Rainy Day Origin Paris Date Made 1877 Medium Oil on canvas Inscriptions Inscribed at lower left: G. 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. For these reasons, the painting dominated the celebrated Impressionist exhibition of 1877, largely organized by the artist himself. On the other hand, its asymmetrical composition, unusually cropped forms, rain-washed mood, and candidly contemporary subject stimulated a more radical sensibility. The painting’s highly crafted surface, rigorous perspective, and grand scale pleased Parisian audiences accustomed to the academic aesthetic of the official Salon. 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.
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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. Gustave Caillebotte grew up near this district when it was a relatively unsettled hill with narrow, crooked streets. This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris.