paris street a rainy day linear perspective

20, 1877, p. 1. Charles Bigot, Causerie artistique: Lexposition des impressionnistes, La revue politique et littraire, Apr. 4 (detail); pp. Different classes are represented to a lesser extent and can be identified by their attire and activity. c) Oblique projection . 1980), front cover (detail); pp. The ground floor of the building between the Rue de Moscou and the Rue Clapeyron, showing a 'pharmacie' sign in the painting, still houses a pharmacy today. Caroline Mathieu, Eugne Haussmann und das Neue Paris, in Die Eroberung der Strasse: Von Monet bis Grosz, ed. 36, 40, 46. 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. Essen, Germany, Museum Folkwang, Bilder einer Metropole: Die Impressionisten in Paris, Oct. 2, 2010Jan. L. G., Le salon des impressionnistes, La presse, Apr. Marie-Amlie Anquetil, Caillebotte: Peintre et cinaste, Caillebotte, Dossier de lart 20 (Sept. 1994), pp. David van Zanten, Looking Through, Across, and Up: The Architectural Aesthetics of the Paris Street, in Impressionism, Fashion, and Modernity, ed. Summer Gallery Talks, Calendar of the Art Institute of Chicago 65, 3 (MayAug. 2 (Mengs, 2001), p. 776 (ill.). Gallery display, Art Institute of Chicago, Rue de Paris, temps de pluie by Gustave Caillebotte, https://en.wikipedia.org/w/index.php?title=Paris_Street;_Rainy_Day&oldid=1149212197, This page was last edited on 10 April 2023, at 20:39. (Its intriguing that the streetlamp dividing the picture was, according to art historian Kirk Varnedoe, an old-fashioned model, no longer in use in 1877. In 1873, however, heentered thecole des Beaux-Arts (School of Fine Arts), and the following year, he befriended members of the Socit Anonyme Cooprative des Artistes Peintres, Sculpteurs, Graveurs (Cooperative and Anonymous Association of Painters, Sculptors, and Engravers), a band of Paris-based painters who would later be known as the Impressionists. If we look closely at Caillebottes brushwork we will notice the characteristic Impressionistic brushstrokes, loose and expressive, although conversely, this painting is more realistically delineated than other Impressionistic paintings. This painting is more academic than Impressionist in character. (Muse dOrsay/Art Institute of Chicago, 1995), pp. 1; 37; 64. John Milner, Atelier dartistes: Paris, capital des arts la fin du XIXe sicle, trans. Caillebotte's realistic style and contemporary influences lend themselves equally to this technique, as they enabled the artist to pair his characteristically precise strokes with looser, Impressionist brushwork. The program started around 1853 and lasted to around 1870, although there were continual changes to the rebuilding of Paris for years to come. Jeanne Bouniort, exh. 7, 1957. [8] The point of view of the roads and the buildings portrayed allows Caillebotte to use two-point perspective. cat. 16, 17 (ill.). 30; 349. David McCracken, Picking Chicagos Top Art Hits, Chicago Tribune, Aug. 18, 1989, p. 7.3 (ill.). Gustave Caillebotte, Self-portrait, ca. cat. Norma Broude, A World in Light: France and the International Impressionist Movement, 18601920, in World Impressionism: The International Movement, 18601920, ed. J. Kirk T. Varnedoe and Peter Galassi, Caillebottes Space, 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. (Museum of Fine Arts, Houston, 1976), pp. Anne Distel, The Birth 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. https://api.artic.edu/api/v1/artworks/20684/manifest.json, A Thousand and One Swabs: The Transformation of Paris Street; Rainy Day, https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/574_anchor. Art Institute of Chicago, The Art Institute of Chicago: The Essential Guide, selected by James N. Wood and Teri J. Edelstein, entries written and compiled by Sally Ruth May (Art Institute of Chicago, 1993), p. 154 (ill.). 1. cat. Celebrating creativity and promoting a positive culture by spotlighting the best sides of humanityfrom the lighthearted and fun to the thought-provoking and enlightening. (Linea dOmbra, 2004), p. 79. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. 36; 37; 38, n. 1. Gabriel P. Weisberg, The Urban Mirror: Contrasts in the Vision of Existence in the Modern City, in Paris and the Countryside: Modern Life in Late-19th-Century France, exh. 19, 1877, p. 1. [2], The painting was first shown at the Third Impressionist Exhibition of 1877. Anne Distel and Rodolphe Rapetti, Au Petit Gennevilliers, in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 18481894, trans. In the left background, there is a carriage moving towards the left side of the composition, out of our view. (Muse dOrsay/Art Institute of Chicago, 1995), pp. 35 (ill.); Metropolitan Museum of Art, New York, asImpressionism, Fashion, and Modernity, Feb. 26May 27, 2013, cat. Caillebotte Paris Rainy Day Analysis - 403 Words | Cram 6. Deliberate cropping is not the only photographic sensibility evident in Paris Street; Rainy Day. According to the Art Institute of Chicago, where this painting is currently housed, Caillebotte grew up when this district was reported to be a relatively unsettled hill. (Wildenstein, 1966), p. 9. (Muse dOrsay/Art Institute of Chicago, 1995), p. 291. Paris Street, Rainy Day. The man wears a moustache, topcoat, frock coat,[5] top hat, bow tie, starched white shirt, buttoned waistcoat and an open long coat with collar turned up. cat. 99; 298. The silence at first is uncanny. cat. cat. Linear perspective and a vanishing point are created by the buildings in the background, which are also parallel to one another; our gaze is focused on the vanishing point created by the building to the left in the background. Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 18001900, exh. 230, 240. Richard Brettell, Gustave Caillebotte and The New Painting: A Centennial Review, Apollo 142, 406 (Dec. 1995), pp. cat. Burcu Dogramaci, Wechselbeziehungen: Mode, Malerei und Fotografie im 19. 20. Omissions? 4; 58. View this work up close on the Google Art Project. Art Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. Kathleen Pyne, Resisting Modernism: American Painting in the Culture of Conflict, in Thomas W. Gaehtgens and Heinz Ickstadt, American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art, Issues and Debates (Getty Center for the History of Art and the Humanities/University of Chicago Press, 1992), p. 290. See also fact sheet provided by Wildenstein and Company, copy in curatorial object file]; placed with Georges Minoret (brother-in-law of Martial Caillebotte), Chteau de Montglat, Provins, France, 1900; Returned to Albert and Genevive Chardeau (daughter 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 by J. Kirk T. Varnedoe, Marie Berhaut, Peter Galassi, and Hilarie Faberman, exh. It was not a typical Impressionist painting either, as it did not follow the expressive brushwork that became a common trait of the art style. 1979), p. 15. Erik Mrstad, Christian Krohg i Skagen: Et Norsk Perspektiv, in Christian Krohg og Skagen, exh. I think of those brilliantly choreographed tracking shots in Martin Scorceses Goodfellas, which deftly acquaint the viewer with different characters as they pass in and out of the picture frame, seemingly by chance. Paris Street; Rainy Day shows a typical Parisian intersection on a particularly drizzly day. Anne Distel, Naissance dun impressionniste, in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 18481894, trans. 1. 18 (ill.). Behind him are two other gentlemen, both looking in different directions, without interaction, quietly walking together, they appear to be heading in the same direction as the man in front of them. Virginie Pouzet-Duzer, Limpressionnisme littraire, Culture et socit (Presses Universitaires de Vincennes, 2013), pp. cat. 216 (ill.), 286. Portland (Ore.) Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., Mar. Charles Harrison, Impressionism, Modernism, and Originality, in Francis Frascina et al., Modernity and Modernism: French Painting in the Nineteenth Century, Modern Art: Practices and Debates (Yale University Press/Open University, 1993), pp. 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. Dayton (Ohio) Art Institute, French Paintings, 17891929: From the Collection of Walter P. Chrysler, Jr., Mar. Paris Street; Rainy Day, Gustave Caillebotte (1877) - Scholastic Both are gazing towards their right (our left) of the composition, which is out of our view. Raymond Cogniat et al., with the assistance of Robert Maillard, Dictionnaire de la peinture moderne (Hazan, 1954), p. 43. Gloria Groom, exh. Perspective is key to almost any drawing or sketch as well as many paintings. 117, 124, 125, 132, 135, 139, 142, 144, 145, 146, 148, 152, 156, 15859, 163, 164, 165, 167, 169, 173, 175, 176, 183, 187, 188, 190, 191. 46; 47, fig. separation between the floors are clearly indicated. (Muse dOrsay/Art Institute of Chicago, 1995), pp. Be aware that choosing a non-stop flight can sometimes be more expensive while saving you time. (Hatje Cantz, 2008), p. 56. 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. (Minneapolis Institute of Arts, 1969), front and back covers (details); pp. Kuraishi Shino, Caillebotte and Photographic Sense of Vision, in Gustave Caillebotte: Impressionist in Modern Paris, ed. Maurice Srullaz, Les peintres impressionnistes (Pierre Tisn, 1959), p. 99. Robert Rosenblum and H. W. Janson, 19th-Century Art (Abrams, 1984), pp. More towards the middle there are two figures walking to the left, their backs are facing us; we see another horse and carriage approaching about to go past them. Gustave Caillebotte (French, 1848-1894) Paris Street; Rainy Day, 1877 Allow yourself to be transported by Gustave Caillebotte's most famous work as you assemble all 1000 pieces of this pensive puzzle.Feel the light splash of raindrops and hear the tapping of bootheels on cobblestone as you are carried back a century to the bustle of a gray Parisian afternoon. [6], Paris Street; Rainy Day gives a view from the eastern side of the Rue de Turin[fr], looking north toward the Place de Dublin. Jill Shaw, Framing Life, cat. Maggie Bollaert (Thames & Hudson, 2009), pp. Kirk Varnedoe, Les dessins de Gustave Caillebotte, in Jean Chardeau, Les dessins de Caillebotte (Herm, 1989), p. 7. 287; 289, fig. Design and development by Junne Alcantara. Jean-Marie Baron, Caillebotte: Impressionniste (Herscher, 1994), pp. Frdric Chevalier, Les impressionnistes,Lartiste, May 1, 1877, p. 332. Although the ashlar facades of the buildings might today seem uniform, at the time they would have been modern and fresh in Caillebotte's youth the area was a hill just beyond the city edge just beginning to be developed as a residential center for the bourgeoisie.[8]. cat. Paris Street; Rainy Day 1877 Gustave Caillebotte (French, 1848-1894) This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris. 2 (detail); 4; 19; 55; 5657, cat. 10 (ill.), 122 (ill.). A fleeting impression of a contemporary city scene, Paris Street; Rainy Day is a far cry from the historical, mythological, and allegorical scenes found in traditional French paintings. We will notice how Gustave Caillebotte employs various characteristics related to photography in his paintings, especially the photorealistic qualities; how he crops the composition as well as utilizes different areas of focus as if he used a camera lens. 104, 110. CEST CET. cat. cat. The neoclassical buildings reflect the construction works of Baron Haussmann. As mentioned above, the view is of the Place de Dublin, and there are three streets visible here. 8, 1877, p. 2. 271. (Runion des Muses Nationaux, 1994), p. 353. This allows you to pick the cheapest days to fly if your trip allows flexibility and score cheap flight deals to Grenoble. This approach resulted in asymmetrical compositions with subject matter seemingly spilling off the canvas. diss., Case Western Reserve University, 2000), pp. 93 (ill.). Caillebottes palette of gray, blue and green here is subtle, but it combines with the watery reflections on the cobblestones to give the picture its astonishing vividness. Isabelle Taudire, exh. (Royal Academy of Arts, 1992), pp. Gustave Caillebotte. 'Paris Street: Rainy Day'? question 7273 (ill.). 25 (ill.); Brooklyn Museum, Feb. 12Apr. 2, 1977, cat. Paris Street; Rainy Day remained in the Caillebotte family until 1955, when it was purchased by prolific art collector Walter P. Chrysler Jr. Less than a decade later, Chrysler sold it Wildenstein and Company, a historic art dealership, who, in turn, sold to the Art Institute of Chicago in 1964. We will then provide a formal analysis, discussing the artistic techniques that the artist utilized in terms of color, line, and perspective. Part of the fun is trying to figure out why.. 2 points Below you see an oil painting titled "Paris Street; Rainy Day" by the French artist Gustave Caillebotte. (Portland Museum of Art, 2006), pp. Peter Galassi, Caillebottes 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. In 1877, he again exhibited his work in their annual exhibition, with Paris Street; Rainy Dayamong its most celebrated highlights. Petra ten-Doesschate Chu, Nineteenth-Century European Art (Prentice-Hall/Abrams, 2003), pp. It should be noted that Caillebotte placed more focus on linearity versus looseness in this painting, which we will discuss below. A stroll to the farthest visible point could chew up half an hour. Norma Broude (Rutgers University Press, 2002), pp. His Rue de Paris par un temps de rain shows passers-by, especially a gentleman and a lady in the foreground who are very truthful. What monocular depth cue does the circled area best represent? 2. He painted genre paintings of everyday scenes and exhibited them in Impressionist exhibitions. Peter Brger, Media Differences: Caillebotte and Maupassant as Storytellers, in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter Brger et al., exh. David P. Jordan, Transforming Paris: The Life and Labors of Baron Haussmann (Free Press, 1995), opp. 75, 77. (Frick Collection/Yale University Press, 2012), pp. Let us know if you have suggestions to improve this article (requires login). cat. Photographers such as Charles Marville had been photographing Pariss streets for years; but slow exposure times made it almost impossible to register the bustle and movement of city streets. Gloria Groom, exh. 99101 (ill.). C. D., Lexposition des impressionnistes, Le petit moniteur universel, Apr. Examining the various angles and placings of the buildings, the respective horizon line, and orthogonal lines, it was believed he also utilized a set of calipers during his process. Paris has always been the significant birthplace of art movements that changed the face of art and history for centuries, think Fauvism or Impressionism; it has been the hub of culture throughout the world. 12627, cat. 25, 1877, p. 3. He tended to use brighter colours and Kirk Varnedoe, Odd Man In: A Brief Historiography of Caillebottes Changing Roles in the History of 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. The ambitious painting represents the height of Caillebottes artistic achievement, as the artist would never again attempt a multi-figure composition on this scale. 7, 1877, p. 2. Roundtrip prices range from $115 - $1,909, and one-ways to Grenoble start as low as $62. 1. How 'Paris Street; Rainy Day' by Caillebotte Freezes a Fleeting Moment Get the latest information and tips about everything Art with our bi-weekly newsletter. 20; 26, n. 49. As we move more towards the background we see more figures, horses, and carriages, all of which are also more blurred in focus. At the onset of Impressionism, photography was a new and pioneering practice. 3 (Metropolitan Museum of Art, New York/Princeton University Press, 2009), pp. A perfect example would be Paris Street: Rainy Day by Gustave Caillebotte (1848-94). Christies, New York, Impressionist and Modern Art (Evening Sale), sale cat. 244, pl. (Muse dOrsay/Art Institute of Chicago, 1995), p. 313. cat. Caillebotte also painted portraits and figure studies, boating scenes and rural landscapes, and decorative studies of flowers. 17, 1957; Museum of Fine Arts, Boston, Mar. He was the youngest and one of the most active members of the group. cat. 7677 (ill.). J. Kirk T. Varnedoe, In Detail: Gustave Caillebottes The Streets of Paris on a Rainy Day, Portfolio 1, 5 (Dec. 1979Jan. Hartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. 324; 32627, fig. 107; 138. 1; 12. Pier Giovanni Castagnoli, Barbara Cinelli, and Maria Mimita Lamberti, De Nittis e la pittura della vita moderna in Europa (Galleria Civica dArte Moderna e Contemporanea, 2002), p. 166. 59, 6061 (ill.), 62, 131, 147. The Impressionist Gustave Caillebotte painted it with a realism reminiscent of photography, which was an influencing factor and stylistic inspiration, creating a snapshot of an everyday scene. 43 (ill.), 44. Perspective | Gustave Caillebotte brought Paris to life in this 19th Caillebotte captured the essence of this moment exquisitely. Three roads are visible on the northern side of the square: the rue de Moscou[fr] (left), the rue Clapeyron[fr] (center), and a continuation of the rue de Turin (right), which runs from the foreground and into the background. cat. Anthea Callen, Techniques of the Impressionists (New Burlington, 1987), pp. xvii; xviii, fig. To help improve this record, please email . In Paris Street; Rainy Day, Caillebotte focused on creating a scene delineated by linearity; there is careful attention to placement and perspective, which is what makes this painting a landmark of its time. This meant crossing the railway tracks at the Gare Saint-Lazare, moving from a cleaner, more affluent, newer part of the city to a tighter, older, more working-class neighborhood. 13. While this style has come to embody Impressionism, not all artists associated with the movement took this approach. 2. 158; 159, pl. Paris Street: Rainy Day demonstrates: (the loneliness of the city, the new construction of the streets and buildings, the artist's knowledge of perspective) all of the previous answers Who repeatedly painted studies of the mountain he had seen throughout his childhood and later observed from his studio window? Caillebotte's interest in photography is evident. (Portland Art Association, 1956), p. 47. cat. The severe cropping of some figures particularly the man to the far right further suggests the influence of photography. 28 (ill). Roger Ballu, Lexposition des peintres impressionnistes, La chronique des arts et de la curiosit, Apr. 133 (ill.). (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. If we look at Paris Street; Rainy Day, we see a 19th-century urban cobbled-street scene, there are people from different social classes, all walking in different directions, going about their business; there is almost no interaction between anyone. However, it did depict an everyday scene, which was a common trait of Impressionism and a move away from the Academic traditions of historical and religious subject matter. 45 (ill.). Michael Findlay, The Caillebotte Bequest, Christies 8, 4 (Feb.Mar. 10, 1877, p. 2. Marie Berhaut, Gustave Caillebotte et le ralisme impressionniste, Loeil 268 (Nov. 1977), front cover (detail); pp. 56; 57, fig. Gustave Caillebotte used a two-point perspective because the view angle of the roads and buildings portrayed the same. Henri Perruchot, Scandale au Luxembourg, Loeil 9 (Sept. 1955), pp. Gustave Caillebotte grew up near this district when it was a relatively unsettled hill with narrow, crooked streets. 151; 152, fig. 22, 25, 26, 27. cat. 3. Online Scholarly Catalogues at the Art Institute of Chicago J. Patrice Marandel, New Installation of Earlier Paintings, Bulletin of the Art Institute of Chicago 73, 1 (Jan.Feb. Perspective is what gives a three-dimensional feeling to a flat image such as a drawing or a painting. H. Barbara Weinberg, Doreen Bolger, and David Park Curry, American Impressionism and Realism: The Painting of Modern Life, 18851915, with the assistance of N. Mishoe Brennecke, exh. Henry Plummer, Masters of Light, vol. 6.76; 997. 3.3. 22, 1877, p. 3. Karin Sagner, Matthias Ulrich, Vittorio Magnago Lampugnani, and Max Hollein, exh. Thomas Grimm [Pierre Vron], Les impressionnistes, Le petit journal, Apr. Steve Edwards, Art and Its Histories: A Reader (Yale University Press/Open University, 1999), pp. (Schirn Kunsthalle Frankfurt/Hirmer, 2012), pp. Mary Morton, with Camille Mathieu, Galina Olmsted, and George T. M. Shackelford, Catalog, 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. 2Apr. Caillebotte most prominently featured the bourgeois class, represented by the elegant couple in the foreground. Griselda Pollock, Vision and Difference: Feminism, Femininity, and the Histories of Art (Routledge, 2003), pp. Some have also stated that Caillebotte may have utilized the camera obscura. cat. What are the couple in the foreground gazing at? Jeanne Bouniort, exh. 78; 122, cat. Nancy Forgione, Everyday Life in Motion: The Art of Walking in Late-Nineteenth-Century Paris, Art Bulletin 86, 4 (Dec. 2005), pp. Karin Sagner and Max Hollein, eds., in cooperation with Ulrich Pohlmann, Gustave Caillebotte: An Impressionist and Photography, exh. 95 (ill.), 278. 10, 1877, p. 2. Georges Rivire, Les intransigeants et les impressionnistes: Souvenir du salon libre de 1877, Lartiste, Nov. 1, 1877, p. 302. cat. 56. 12; 66; 11617; 118, fig. Simultaneously published as Gloria Groom and Douglas Druick, The Age of Impressionism at the Art Institute of Chicago, with the assistance of Dorota Chudzicka and Jill Shaw (Art Institute of Chicago/Yale University Press, 2008), pp. 1877. 25, fig. Paul Mantz, Lexposition des peintres impressionnistes, Le temps, Apr. 4 (ill.); Fort Worth, Tex., Kimbell Art Museum, Nov. 8, 2015Feb. His Paris Street; Rainy Day painting received positive critical acclaim from the famous French journalist and writer, mile Zola, who wrote about in an article, dated for April 1877, Notes parisiennes: Une exposition: les peintres impressionnistes, which was published in the newspaper titled Le Smaphore de Marseille. (Runion des Muses Nationaux, 1994), pp. Anne Distel, Charles Deudon (18321914), collectionneur, Revue de lart 86 (1989), p. 61, n. 16. 1, as Rue de Paris; Temps de pluie. 1977), pp. 1892 (Photo: Wikimedia Commons Public Domain). 15, 29. cat. cat. 20, 2013, cat. $62 Cheap Flights to Grenoble - Expedia.com 77, 79 (ill.). Art Institute of Chicago, Pocket Guide to the Art Institute of Chicago (Art Institute of Chicago, 1983), pp. (Hatje Cantz, 2008), pp. Paris Street; Rainy Day ( French: Rue de Paris, temps de pluie) is a large 1877 oil painting by the French artist Gustave Caillebotte (1848-1894), and is his best known work. 28, 1877, p. 1047. 89, 54 (ill.). 5. In 1874, this group of artists held their first of eight independent exhibitions. Paris Street; Rainy Day, 1877 Gustave Caillebotte Background Gustave Caillebotte (1848-1894) was born into a wealthy Parisian family. 3.2. 16; 2627; 31; 44; 45. 9, 1877, p. 3. These photographic tensions between what was technically faithful yet experientially false fascinated Caillebotte perhaps (who knows?)

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