Gustave Caillebotte: Impressions Of A Changing Paris
Impressionist paintings of Paris often depict a city full of sun-dappled socialites: dancing, shopping, boating and schmoozing. But for painter and art patron Gustave Caillebotte, Paris was a darker, lonelier place. His 1877 work, Paris Street; Rainy Day, shows Parisians making their way down a vast street on a dreary day. (Click enlarge to see the full painting.)
Impressionist paintings of Paris often depict a city full of sun-dappled socialites: dancing, shopping, boating and schmoozing. But for painter and art patron Gustave Caillebotte, Paris was a darker, lonelier place. His 1877 work, Paris Street; Rainy Day, shows Parisians making their way down a vast street on a dreary day. (Click enlarge to see the full painting.)
In the 1870s, an Emperor and a Baron undertook the remaking of Paris: Napoleon III and Baron Georges-Eugene Haussmann's urban renewal project converted clusters of medieval warrens into the Paris we know today, with its grand boulevards and rows of handsome buildings. Impressionist painters showed that new Paris on their canvases — but one of them had a very different perspective.
Gustave Caillebotte's best-known work, Paris Street: Rainy Day (above), painted in 1877, shows a vast cobblestone street, stretching out in front of looming, wedge-shaped buildings. The street is dotted with dark umbrellas, that shelter top-hatted men and women in long skirts — all looking vague and a little disoriented. That was a major subject of Caillebotte's: What the modernization of Paris was doing to its people.
Many of Caillebotte's paintings depict the modernization of Paris. In his 1876 painting, Le Pont de l'Europe, pedestrians on a new bridge are engulfed by steel girders.
Many of Caillebotte's paintings depict the modernization of Paris. In his 1876 painting, Le Pont de l'Europe, pedestrians on a new bridge are engulfed by steel girders.
"They seem to be quite alone," says Nicolas Sainte Fare Garnot, curator of the Jacquemart-Andre Museum. "Every person is lost in a very wide world."
The Jacquemart-Andre Museum, which is featuring an exhibition of Caillebotte's work, is located on Boulevard Haussmann — a broad and busy thoroughfare where, in the 1870s, wealthy Parisians built their mansions. (The museum was once the home of banker Edouard Andre and his wife Nelie Jacquemart.) Caillebotte lived just down the street, and painted what was happening to Paris when Baron Haussmann was re-making it.
In Caillebotte's paintings, men leaning on new bridges seem engulfed by steel girders. Others stand on balconies, looking down at the Boulevard Haussmann — above, yet somehow dwarfed by the street.
"Modern life doesn't create a close relations between human beings," Garnot says, "You are [in] complete loneliness in these new buildings, new avenues, new boulevards. There's something quite sad about that."
In Caillebotte's 1880 work, Un Balcon, two men gaze down at Boulevard Haussmann below, yet still appear dwarfed by the street.
In Caillebotte's 1880 work, Un Balcon, two men gaze down at Boulevard Haussmann below, yet still appear dwarfed by the street.
Caillebotte's contemporaries — Renoir, Monet, Sisley, Pissaro — also put this "modern" Paris in their paintings. But theirs is a Paris peopled by happy dancers, or sociable boaters, or busy shoppers, or flag-waving parade marchers.
"They just wanted to show pleasant persons or fun activities," Garnot says. "Not the kind of loneliness that you find [in Caillebotte.]"
It's Caillebotte's perspectives — his wide-angled, panoramic views — that shade the paintings with sadness. The zooming angles and thrusting spaces are daring, compelling, dramatic and totally original.
Not himself an Impressionist, Caillebotte loved what those painters and others were doing. He befriended them — Manet, Monet, Renoir, Sisley, Pissaro and Cezanne — at local cafes. Garnot says that Manet had the habit of receiving friends at the Cafe Guerbois. Caillebotte decided to do the same thing — hosting the artists once a week.
Caillebotte didn't just wine and dine his artist friends — he loaned them money (in fact, he paid the rent on Monet's studio for a while.) And most importantly, he bought their paintings for top dollar. Caillebotte was very wealthy; his father had made a fortune supplying Napoleon's army with uniforms, bedding and other materials. Gustave inherited that fortune at age 26.
Caillebotte painted this self-portrait in 1879 at age 31. In the background, he has placed Dance at Le moulin de la Galette, painted three years earlier by his friend Pierre-Auguste Renoir. (See that painting by Renoir below.)
Caillebotte painted this self-portrait in 1879 at age 31. In the background, he has placed Dance at Le moulin de la Galette, painted three years earlier by his friend Pierre-Auguste Renoir. (See that painting by Renoir below.)
"He wanted to help the Impressionist painters," Garnot says. "So he purchased about 64 paintings from Monet, Renoir, Sisley, Pissaro and all the others."
Caillebotte purchased Renoir's Dance at Le moulin de la Galette and many other Impressionist works long before they were popular. Works in his collection by the likes of Monet, Renoir, Pissarro and more would one day be recognized among the world's greatest Impressionist works.
Caillebotte purchased Renoir's Dance at Le moulin de la Galette and many other Impressionist works long before they were popular. Works in his collection by the likes of Monet, Renoir, Pissarro and more would one day be recognized among the world's greatest Impressionist works.
More On The Painters Caillebotte Supported
Monet's Canvas Cathedrals: A Life Study Of Light
Working on 10 canvases at once, Monet moved swiftly between easels as the sun arced across the sky.
'Renoir In The 20th Century': A Master's Last Works
"I am just learning how to paint," said Pierre-Auguste Renoir in 1913 — six years before he died.
Two Manets, A Makeover And A Mystery
The Ragpicker and The Old Musician have been reunited, and one has a tale to tell.
One of the paintings in the Jacquemart-Andre show is a self-portrait Caillebotte made early in his painting life. He started painting relatively late, at age 27, and only lived to 45. In this 1879 self portrait, he's 31 years old, and seated at an easel in his apartment. Behind him, on the wall hangs a painting that is now considered one of the greatest Impressionist works. It's Renoir's 1876 the Dance at Le moulin de la Galette. Renoir shows a sun-dappled crowd of convivial partiers, dancing, drinking and schmoozing. Caillebotte was the first owner of this Renoir masterpiece, and reproduced it in his own self-portrait — as a salute.
He was a nervy painter, but not a professional one — and he didn't really have to be. Caillebotte had loads of money and didn't need to make his living from art. The 500 or so paintings he created stayed in his family. In part, that's why he's less well-known than his great painter pals. Caillebotte's pictures weren't in museum collections, and he didn't get serious attention until the 1960s.
But because he was a great patron of the arts, Caillebotte's first-rate art collection became what today is the crux of the Impressionist holdings at the Musee d'Orsay in Paris. Although for a while, he (or his executors) couldn't even give the paintings away. "It's a pity," Garnot says. "When he offered all [of] the collection to the French state, the minister of fine arts wasn't pleased at all by the donation. He refused it. He turned them away."
At the time, the custom was for the state to only accept works by dead painters. But that wasn't the only reason the paintings were rejected by the state: "You must understand," Garnot says, "that they didn't appreciate ... the style." Critics of the day felt the Impressionist works looked hasty, crude and unfinished. There was no place for them in prestigious, official French collections.
Caillebotte died in 1894. Seven years later, after much bickering, wrangling and negotiation, 40 of the 60 paintings in his his bequest of Impressionist treasures were accepted by the government of France. Now, more than a century later, the names Renoir, Monet, Sisley — and yes, Gustave Caillebotte — have become part of the Pantheon of French painting.
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Observe Reason (reasonedobserver) wrote:
Dear Jennifer:
Great Point!
It is very easy and misguided to project contemporary feeling/mores onto an issue or work of art from the past.
"Context" comes to mind. I would have hoped that the curator would have known better.
Astute call on your part.
June 3, 2011 11:22:08 AM PDT
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Observe Reason (reasonedobserver) wrote:
Dear Mr. Willingham:
While I cannot provide the painting's location (museum et al), I can tell you that you will have more luck finding a copy under it original title.
Try looking for as: "Dr. Georges Viau in His Office Treating Annette Roussel, 1914:
Also the artist's name is spelled "Vuillard"
There are a lot of venues for procuring a copy...be careful thought!
Good luck, sir.
O.R.
June 3, 2011 11:19:18 AM PDT
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Jennifer McClung (JenMc) wrote:
I don't know, somehow this seems to be a curator's project of his feelings onto paintings rather than what the actual paintings infer. I have seen numerous Caillebotte paintings and never have I interpreted them to be a statement of the alienation of man over the modernization of his contemporary world. The people seemed like self-reflective people to me. I always felt the conviviality of such pieces as Renoir's "Dance..." to be a forced happiness which made them sadder statement about man's alienation within the city. But, that's just me.
June 3, 2011 11:09:09 AM PDT
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Mark Novak (straitfan1962) wrote:
The painting Paris Street; Rainy Day is a giant work and best seen in person. Left an impression on me when I saw it at the Kimbell during an exhibition.
June 3, 2011 10:02:34 AM PDT
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Douglas Willingham (Archie401) wrote:
Does anyone know the whereabouts of Edouard Villard's "The Dentist"? I'd like a copy of it for my dental office.
June 3, 2011 9:23:09 AM PDT
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Observe Reason (reasonedobserver) wrote:
In addition, it is intriguing that while Impressionism is today 'honored' as a seminal movement in art; and examples, duplicates and imitations hang in many many homes, businesses et al; nevertheless, in its day Impressionism and its practicianers were reviled, both for technique and subject. Impressionists were the "Bad Boys ( and Girls) of the art world.
Those who use Impressionism as an example when critiquing 'untraditional' or contemporary art may wish to keep that in mind.
June 3, 2011 9:22:33 AM PDT
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Douglas Willingham (Archie401) wrote:
I have a print of that Caillebotte painting in my dental office. What I'd like to have also is Edouard Vuillard's painting "The Dentist". Does anyone know where this is or whether I can purchase a print of it?
June 3, 2011 9:21:08 AM PDT
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Observe Reason (reasonedobserver) wrote:
Caillebotte's work seems a nexus between the then new realism of Courbet and the fascination with light and its effects upon 'objects' intrinsic to Impressionism. As such Caillebotte stands at the intersection of those two schools. Unlike Renoir, who in spite of the surface 'prettiness' of his painting, essentially provides a lot of "Fluff", Caillebottes seems much more interested in urban reality rather than simply painting pretty pictures.
I'd take Caillebotte's reality over Renoir's fluff any day.
NPR...Please MORE historical and contemporary fine art articles like this!!!!!
June 3, 2011 9:13:12 AM PDT
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