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Gustave Caillebotte


gustave Caillebotte

Berthier, a woman eleven years his junior and of the lower class, to whom he left a sizable annuity. The iron bridge depicted. The family lived in Paris on the rue du Faubourg-Saint-Denis. For decades after his death, Caillebotte was better known as a major source of financial support and patronage of a number of his artist colleagues, including his close friends Renoir and Monet, as well as Manet and Pissarro. While he is classified as an Impressionist, the paintings that are considered by most to be his masterpieces actually fall more into the category of Realism, like the work of his predecessors, Millet and Courbet, and even Degas where Did Race Come From? by Jeffrey M. Fish or Monet's earlier work. Impressionist exhibitions for the next six years, and he used his wealth to purchase works by other Impressionists, notably Monet, Renoir, Camille Pissarro, Paul Czanne, Edgar Degas, Alfred Sisley, and, berthe Morisot.

Gustave Caillebotte: The Painters Eye continues this rediscovery, gathering his best work for a fresh look. Gustave Caillebotte was born into a wealthy Parisian family on August 19, 1848. His striking use of varying perspective is particularly admirable and sets him apart from his peers who may have exceeded him in other artistic areas. Born into a wealthy family, Caillebotte trained to be an engineer but became interested in painting and studied at the cole des Beaux-Arts in Paris. Caillebotte became the chief organizer, promoter, and financial backer of the. Caillebotte was an enthusiastic collector of photographs as were some of the other artists in the Impressionist group - Degas most of all. Their formal influence was even more pronounced and, in the work of Caillebotte, one can detect it in the often extremely tilted ground of a work and the frequent high vantage points, both major visual traits of Japanese prints. Caillebotte died of pulmonary congestion while working in his garden at Petit-Gennevilliers in 1894 at age 45, and was interred at Pere Lachaise Cemetery in Paris.

At times, he seems very much in the Degas camp of rich-colored realism (especially his interior scenes) and at other times, he shares the Impressionists' commitment to "optical truth" and employs an impressionistic pastel-softness and loose brush strokes most similar to Renoir and Pissarro, though. Impressionists, Gustave Caillebotte is best known for his paintings of 19th-century urban life in Paris. Gustave Caillebotte, A Boating Party, 18771878, oil on canvas, Private Collection. In 1964, The Art Institute of Chicago acquired Paris Street; Rainy Day, spurring American interest in the artist. Caillebotte painted many domestic and familial scenes, interiors, and portraits. Gustave Caillebotte, Man at His Bath, 1884, oil on canvas, Museum of Fine Arts, Boston, Museum purchase with funds by exchange from an Anonymous gift, Bequest of William. Its subject matter, the depiction of laborers preparing a wooden floor, was considered "vulgar" by some critics and is the probable reason why it was rejected by the Salon of 1875. And his cousin Zoe in the garden of the family property at Yerres; and Portraits in the Country (Portraits a la campagne) (1875) includes Caillebotte's mother along with his aunt, cousin, and a family friend. In both artists' work you can easily identify some of the major formal characteristics that borrow from photography. 1882, oil on canvas, The Art Institute of Chicago, Major Acquisitions Centennial Endowment. Unlike the brighter palettes of Impressionist painters like. When the Caillebotte Room opened at the Luxembourg Palace in 1897, it was the first exhibition of Impressionist paintings ever to be displayed in a French museum.

Although all periods of his career are represented, attention focuses on the years 1875 to 1882 when he was most closely allied with the impressionists. Friedman Fund, Robert. Rosenberg Family Fund, and funds donated in honor of George. Because of his secure finances derived from his fathers successful textile business he had no need to earn an income from his art.


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