This monumental painting is Gustave Caillebotte\u2019s largest, most ambitious work and has been a visitor favorite since the Art Institute acquired it in 1964, well before the artist\u2019s contributions to the Impressionist movement were widely recognized. Caillebotte captured a busy intersection of Paris that was only a short walk from his home. In fact, his paintings of Paris rarely depict areas beyond his familiar neighborhoods.<\/p>\n
Caillebotte demonstrated his affinity with the Impressionists through his subject of modern urban life but approached these settings with a more Realist technique. The dramatic cropping of the scene may have been inspired by the newly popularized medium of photography; the two central figures seem to be walking straight into the viewer as something captures their attention outside of the frame. At the time, artists rarely attempted to depict people in motion; Caillebotte carefully placed each of the background figures to evoke the feeling of bustling city streets. When he started exhibiting with the Impressionists, Caillebotte also focused on portraying the atmosphere of his scenes; here, instead of explicitly painting raindrops to indicate the weather, he suggests it through the incorporation of newly available retractable umbrellas and the subtle reflections on the wet cobblestones.<\/p>\n","short_description":"Considered Caillebotte\u2019s masterpiece, this view of a busy intersection captures both an everyday moment and all that was new in a rapidly changing Paris. The clothes are the latest fashion. The retractable umbrella was just invented. And a decades-long renovation had transformed the medieval streets of Paris into grand boulevards, like the ones seen here. It's a painting you want to walk into.","dimensions":"212.2 \u00d7 276.2 cm (83 1\/2 \u00d7 108 3\/4 in.); Framed: 241.3 \u00d7 306.1 \u00d7 10.2 cm (95 \u00d7 120 1\/2 \u00d7 4 in.)","dimensions_detail":[{"depth":null,"width":276,"height":212,"diameter":null,"clarification":null},{"depth":10,"width":306,"height":241,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower left: G. Caillebotte. 1877","credit_line":"Charles H. and Mary F. S. Worcester Collection","catalogue_display":null,"publication_history":"Catalogue de la 3e exposition de peinture, exh. cat. (E. Capiomont et V. Renault, 1877), p. 3, cat. 1.\n\nL\u00e9on Mancino, \u201cLa descente de la courtille,\u201d L\u2019art 9 (Apr. 1877), p. 70.\n\nAnonymous [possibly Gaston Vassy], \u201cLa journ\u00e9e \u00e0 Paris: L\u2019exposition des impressionnalistes,\u201d L\u2019\u00e9v\u00e9nement, Apr. 6, 1877, p. 2.\n\nL. G., \u201cLe salon des \u2018impressionnistes,\u2019\u201d La presse, Apr. 6, 1877, p. 2.\n\n\u201cChronique,\u201d Gazette de France, Apr. 7, 1877, p. 2.\n\nThomas Grimm [Pierre V\u00e9ron], \u201cLes impressionnistes,\u201d Le petit journal, Apr. 7, 1877, p. 1.\n\nAlexandre Pothey, \u201cBeaux-arts,\u201d Le petit parisien, Apr. 7, 1877, p. 2.\n\nPaul S\u00e9billot, \u201cExposition des impressionnistes,\u201d Le bien public, Apr. 7, 1877, p. 2.\n\nAnonymous [possibly George Lafenestre], \u201cLe jour et la nuit,\u201d Le moniteur universel, Apr. 8, 1877, p. 2.\n\nC. D., \u201cL\u2019exposition des impressionnistes,\u201d Le petit moniteur universel, Apr. 8, 1877, p. 2.\n\nE. Lepelletier [Edmond-Adolphe de Bouh\u00e9lier], \u201cLes impressionnistes,\u201d Le radical, Apr. 8, 1877, pp. 2\u20133.\n\nBaron Schop [Th\u00e9odore de Banville], \u201cChoses et autres,\u201d Le national, Apr. 8, 1877,pp. 2\u20133.\n\nAnonymous [possibly Pierre V\u00e9ron], \u201cLes impressionnistes,\u201d La petite presse, Apr. 9, 1877, p. 3.\n\nBertall [Charles-Albert d\u2019Arnoux], \u201cExposition des impressionnistes,\u201d Paris-Journal, Apr. 9, 1877, pp. 1\u20132.\n\n\u201cExposition des impressionnistes: 6, rue le Peletier, 6,\u201d La petite r\u00e9publique fran\u00e7aise, Apr. 10, 1877, p. 2.\n\nL\u00e9on de Lora [Louis de Fourcaud], \u201cL\u2019exposition des impressionnistes,\u201d Le gaulois, Apr. 10, 1877, p. 2.\n\nJacques [Edmond Bazire], \u201cMenus propos: Exposition impressionniste,\u201d L\u2019homme libre, Apr. 12, 1877, p. 1.\n\nRoger Ballu, \u201cL\u2019exposition des peintres impressionnistes,\u201d La chronique des arts et de la curiosit\u00e9, Apr. 14, 1877, p. 147.\n\nGeorges Rivi\u00e8re, \u201cL\u2019exposition des impressionnistes,\u201d L\u2019impressionniste, Apr. 14, 1877, p. 4.\n\nAnonymous [possibly \u00c9mile Zola], \u201cNoted parisiennes: Une exposition; Les peintres impressionnistes,\u201d Le s\u00e9maphore de Marseille, Apr. 19, 1877, p. 1.\n\nA. Descubes [Am\u00e9d\u00e9e Descubes-Desgueraines], \u201cL\u2019exposition des impressionnistes,\u201d Gazette des lettres, des sciences et des arts 1, 12 (Apr. 20, 1877), p. 187.\n\nErnest Fillonneau, \u201cLes impressionnistes,\u201d Moniteur des arts, Apr. 20, 1877, p. 1.\n\nPaul Mantz, \u201cL\u2019exposition des peintres impressionnistes,\u201d Le temps, Apr. 22, 1877, p. 3.\n\nRoger Ballu, \u201cL\u2019exposition des peintres impressionnistes,\u201d Les beaux-arts illustr\u00e9s, Apr. 23, 1877, p. 392.\n\nPhilippe Burty, \u201cExposition des impressionnistes,\u201d La r\u00e9publique fran\u00e7aise, Apr. 25, 1877, p. 3.\n\nCharles Bigot, \u201cCauserie artistique: L\u2019exposition des \u2018impressionnistes,\u2019\u201d La revue politique et litt\u00e9raire, Apr. 28, 1877, p. 1047.\n\nFr\u00e9d\u00e9ric Chevalier, \u201cLes impressionnistes,\u201dL\u2019artiste, May 1, 1877, p. 332.\n\nPh. M., \u201cArts: Les impressionnistes,\u201d Revue des id\u00e9es nouvelles 11 (May 1, 1877), p. 167.\n\nGeorges Rivi\u00e8re, \u201cLes intransigeants et les impressionnistes: Souvenir du salon libre de 1877,\u201d L\u2019artiste, Nov. 1, 1877, p. 302.\n\nDurand-Ruel, Paris, Exposition r\u00e9trospective d\u2019oeuvres de G. Caillebotte, exh. cat. (E. Moreau, 1894), p. 5, cat. 47.\n\nJacques Crevelier, \u201c\u00c0 travers l\u2019art: Caillebotte,\u201d Le soir, June 8, 1894.\n\nLionello Venturi, Les archives de l\u2019impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; M\u00e9moires de Paul Durand-Ruel; Documents, vol. 2 (Durand-Ruel, 1939), p. 319.\n\nGalerie Beaux-Arts, R\u00e9trospective Gustave Caillebotte, au profit du Mus\u00e9e de Rennes, exh. cat. (Galerie Beaux-Arts, 1951), cat. 13.\n\nMarie Berhaut, Caillebotte, with an introduction by Daniel Wildenstein (Wildenstein, 1951), front cover (detail), back cover (detail); cat. 28.\n\nJ. Bouret, \u201cUn peintre de notre temps,\u201d Art, beaux-arts, litt\u00e9rature, spectacles, May 25, 1951, p. 1 (ill.).\n\nRaymond Cogniat et al., with the assistance of Robert Maillard, Dictionnaire de la peinture moderne (Hazan, 1954), p. 43.\n\nHenri Perruchot, \u201cScandale au Luxembourg,\u201d L\u2019oeil 9 (Sept. 1955), pp. 16\u201317 (ill.).\n\nPortland (Ore.) Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., exh. cat. (Portland Art Association, 1956), pp. 47, cat. 78; 122, cat. 78 (ill.).\n\nBob Sanford, \u201cArt of World Importance to Be at Nelson Gallery,\u201d Kansas City Star, Nov. 25, 1956, p. E1 (ill.).\n\nMaurice S\u00e9rullaz, Les peintres impressionnistes (Pierre Tisn\u00e9, 1959), p. 99.\n\nDayton (Ohio) Art Museum, French Paintings, 1789\u20131929: From the Collection of Walter P. Chrysler Jr., exh. cat. (Dayton Art Museum, 1960), pp. 64, cat. 56 (ill.); 131, cat. 56.\n\n\u201cArt: U.S. Exhibitions Elsewhere,\u201d New York Times, Apr. 10, 1960, p. 12X (ill.).\n\nArt Institute of Chicago, The Art Institute of Chicago Annual Report, 1964\u201365 (Art Institute of Chicago, 1965), pp. 15, 29.\n\nJohn Maxon, \u201cPlace de l\u2019Europe on a Rainy Day,\u201d Calendar of the Art Institute of Chicago 59, 3 (May 1965), pp. 8\u20139 (ill.).\n\nDenys Sutton, \u201cGustave Caillebotte,\u201d in Gustave Caillebotte, 1848\u20131894: A Loan Exhibition in Aid of the Hertford British Hospital in Paris, exh. cat. (Wildenstein, 1966), p. 9.\n\nMax Wykes-Joyce, \u201cMaecenas at Work: Gustave Caillebotte,\u201d Art Review 18, 11 (June 11, 1966), p. 269.\n\nJohn Maxon, \u201cSome Recent Acquisitions,\u201d Apollo 84, 55 (Sept. 1966), front cover (detail); pp. 171, 216.\n\nMarie Berhaut, Caillebotte: The Impressionist, trans. Diana Imber (International Art Book, 1968), pp. 5; 17, fig. 7; 28; 34; 36; 46; 50.\n\nMinneapolis Institute of Arts, The Past Rediscovered: French Paintings, 1800\u20131900, exh. cat. (Minneapolis Institute of Arts, 1969), front and back covers (details); pp. 38\u201339, cat. 7 (ill.).\n\nRobert Rosenblum, \u201cThe Nineteenth-Century Franc Revalued,\u201d in Minneapolis Institute of Arts, The Past Rediscovered: French Paintings, 1800\u20131900, exh. cat. (Minneapolis Institute of Arts, 1969), p. 19.\n\nRobert Rosenblum, \u201cThe 19th-Century Franc Revalued,\u201d Art News 68, 4 (Summer 1969), front cover (detail); pp. 5 (ill.); 60.\n\nCharles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 62, pl. 49; 163.\n\nJohn Maxon, The Art Institute of Chicago (Abrams, 1970), pp. 95 (ill.), 278.\n\nLinda Nochlin, Realism, Style and Civilization (Penguin, 1971), pp. 168; 169, fig. 103; 264.\n\n\u201cSummer Gallery Talks,\u201d Calendar of the Art Institute of Chicago 65, 3 (May\u2013Aug. 1971), p. 18.\n\n\u201cLecturer\u2019s Choice,\u201d Bulletin of the Art Institute of Chicago 67, 3 (May\u2013June 1973), p. 11.\n\n\u201cLecturer\u2019s Choice,\u201d Bulletin of the Art Institute of Chicago 67, 4 (Jul.\u2013Aug. 1973), p. 11.\n\nLydie Huyghe, \u201cNotices Bio-Bibliographiques,\u201d in Ren\u00e9 Huyghe, La rel\u00e8ve du r\u00e9el: La peinture fran\u00e7aise au XIXe si\u00e8cle; Impressionisme, symbolisme (Flammarion, 1974), p. 431.\n\nRen\u00e9 Huyghe, La rel\u00e8ve du r\u00e9el: La peinture fran\u00e7aise au XIXe si\u00e8cle; Impressionisme, symbolisme (Flammarion, 1974), p. 154, no. 133 (ill.).\n\nGa\u00ebtan Picon, \u00c9mile Zola: Le bon combat, de Courbet aux impressionnistes (Hermann, 1974), pp. 189, 243.\n\nJ. Kirk T. Varnedoe, \u201cCaillebotte\u2019s Pont de l\u2019Europe: A New Slant,\u201d Art International: The Lugano Review 18, 4 (Apr. 20, 1974), pp. 29, fig. 5; 41, 58.\n\nM. Therese Southgate, \u201cAbout the Cover,\u201d JAMA: The Journal of the American Medical Association 232 (Apr. 14, 1975), front cover (ill.).\n\nMarie 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. cat. (Museum of Fine Arts, Houston, 1976), p. 15.\n\nPeter Galassi, \u201cCaillebotte\u2019s Method,\u201d 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\u2013200, 201 (ill.), 202\u201306.\n\nJ. Kirk T. Varnedoe, \u201cCaillebotte: An Evolving Perspective,\u201d 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. 47, 56, 57.\n\nJ. Kirk T. Varnedoe, with Hilarie Faberman, \u201cGustave Caillebotte: A Biography,\u201d 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.\n\nJ. Kirk T. Varnedoe and Peter Galassi, \u201cCaillebotte\u2019s Space,\u201d 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. 60, 62, 64, 68, 69, 72, 73.\n\nJ. 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 (ill.); 74; 106; 108; 110\u201313, cat. 25 (ill.); 116; 119; 122; 129; 133; 210\u201311; 212\u201313; 214\u201316.\n\nKirk Varnedoe, \u201cGustave Caillebotte in Context,\u201d Arts Magazine 50, 9 (May 1976), pp. 95; 96; 97, fig. 8; 98; 99.\n\nRobert Rosenblum, \u201cGustave Caillebotte: The 1970s and the 1870s,\u201d Artforum 15, 7 (Mar. 1977), pp. 47, 48 (ill.).\n\nAlfred Werner, \u201cJoys Forever?,\u201d Art and Artists 11, 132 (Mar. 1977), pp. 5, 6\u20137 (ill.).\nMarie Berhaut, \u201cGustave Caillebotte et le r\u00e9alisme impressionniste,\u201d L\u2019oeil 268 (Nov. 1977), front cover (detail); pp. 42 (ill.), 43, 46.\n\nArt Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. 96\u201397, fig. 53.\n\nMarie Berhaut, Caillebotte: Sa vie et son oeuvre; Catalogue raisonn\u00e9 des peintures et pastels (Biblioth\u00e8que des Arts\/Fondation Wildenstein, 1978), pp. 43\u201345 (ill.); 98\u201399, cat. 52 (ill.); 249; 261.\n\nJ. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 76\u201377 (ill.).\n\nJ. Patrice Marandel, \u201cNew Installation of Earlier Paintings,\u201d Bulletin of the Art Institute of Chicago 73, 1 (Jan.\u2013Feb. 1979), p. 15.\n\nJ. Kirk T. Varnedoe, \u201cIn Detail: Gustave Caillebotte\u2019s The Streets of Paris on a Rainy Day,\u201d Portfolio 1, 5 (Dec. 1979\u2013Jan. 1980), front cover (detail); pp. 3 (detail), 4, 42, 43 (ill.), 45\u201346, 47 (detail).\n\nDiane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 133; 166 (ill.); 167 (detail).\n\nJennifer A. Martin Bienenstock, \u201cChilde Hassam\u2019s Early Boston Cityscapes,\u201d Arts Magazine 55, 3 (Nov. 1980), p. 170.\n\nDennis Paul Costanzo, \u201cCityscape and the Transformation of Paris during the Second Empire\u201d (Ph.D. diss., University of Michigan, 1981), pp. 298\u201399; 302; 309; 315; 466, pl. 222.\n\nPatricia Failing, \u201cThe Objects of Their Affection,\u201d Art News 81, 9 (Nov. 1982), p. 124 (ill.).\n\nArt Institute of Chicago, Pocket Guide to the Art Institute of Chicago (Art Institute of Chicago, 1983), pp. 8 (ill.); 25, no. 28 (ill).\n\nT. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and His Followers (Knopf, 1984), pp. x; 15, fig. 5.\n\nRobert Rosenblum and H. W. Janson, 19th-Century Art (Abrams, 1984), pp. 342, pl. 61; 365.\n\nArt Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka 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. (Nihon Nippon Television Network, 1985), pp. 20, 21 (ill.).\n\nMichael Bockem\u00fchl, \u201cInnocence of the Eye and Innocence of the Meaning: Zum Problem der Wirklichkeit in der realistischen Malerei von Gustave Caillebotte,\u201d Modernit\u00e4t und Tradition: Festschrift f\u00fcr Max Imdahl zum 60 Geburtstag, ed. Gottfried Boehm (Fink, 1985), pp. 13; 15, fig. 3; 31, n. 4; 32, n. 11; 33, n. 22.\n\nRichard R. Brettell, \u201cThe \u2018First\u2019 Exhibition of Impressionist Painters,\u201d in The New Painting: Impressionism, 1874\u20131886, ed. Charles S. Moffett, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 196\u201397.\n\nChantal Georgel, La rue (Hazan, 1986), p. 75.\n\nCharles S. Moffett, ed., The New Painting: Impressionism, 1874\u20131886, with the assistance of Ruth Berson, Barbara Lee Williams, and Fronia E. Wissman, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 203; 208\u201309, cat. 38 (ill.).\n\nMark Stevens, \u201cWhen Impressionism Was New,\u201d Newsweek, Feb. 3, 1986, p. 71 (ill.).\n\nRichard R. Brettell, French Impressionists (Art Institute of Chicago\/Abrams, 1987), pp. 44 (detail), 45\u201346, 47 (ill.), 117.\n\nAnthea Callen, Techniques of the Impressionists (New Burlington, 1987), pp. 92, 94 (ill.).\n\nKirk Varnedoe, Gustave Caillebotte (Yale University Press, 1987), pp. 2; 4; 11; 18; 80; 84; 88; 89, pl. 18; 90; 91 (detail); 92; 93 (detail); 94\u201395; 110; 176; 187\u201391; 206; 207.\n\nMichael Findlay, \u201cThe Caillebotte Bequest,\u201d Christie\u2019s 8, 4 (Feb.\u2013Mar. 1987), p. 3 (ill.).\n\nKathleen Adler, Unknown Impressionists (Phaidon, 1988), pp. 8; 70; 78, pl. 64.\n\nArt Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood and Katharine C. Lee (Art Institute of Chicago\/New York Graphic Society\/Little, Brown, 1988), pp. 9, 58 (ill.).\n\nRobert L. Herbert, Impressionism: Art, Leisure, and Parisian Society (Yale University Press, 1988), pp. 20; 22, pl. 26.\n\nJohn Milner, The Studios of Paris: The Capital of Art in the Late Nineteenth Century (Yale University Press, 1988), pp. 163; 164, pl. 189.\n\nBelinda Thomson and Michael Howard, Impressionism (Bison, 1988), p. 36 (ill.).\n\nKirk Varnedoe, \u201cLate Recognition for One of the Original Impressionists,\u201d Chronicle of Higher Education, Feb. 3, 1988, p. B27 (ill.).\n\nE. A., \u201cImpressions of Caillebotte,\u201d Connoisseur 218, 915 (Apr. 1988), p. 48 (ill.).\n\nJack Perry Brown, \u201cThe Return of the Salon: Jean G\u00e9r\u00f4me in the Art Institute,\u201d Art Institute of Chicago Museum Studies 15, 2 (1989), p. 157.\n\nJean Chardeau, Les dessins de Caillebotte (Herm\u00e9, 1989), pp. 9, 12, 62\u201363 (ill.), 64 (detail), 66 (detail), 67 (detail), 68 (detail), 70 (detail).\n\nAnne Distel, \u201cCharles Deudon (1832\u20131914), collectionneur,\u201d Revue de l\u2019art 86 (1989), p. 61, n. 16.\n\nKirk Varnedoe, \u201cLes dessins de Gustave Caillebotte,\u201d in Jean Chardeau, Les dessins de Caillebotte (Herm\u00e9, 1989), p. 7.\n\nDavid McCracken, \u201cPicking Chicago\u2019s Top Art Hits,\u201d Chicago Tribune, Aug. 18, 1989, p. 7.3 (ill.).\n\nNorma Broude, \u201cA World in Light: France and the International Impressionist Movement, 1860\u20131920,\u201d in World Impressionism: The International Movement, 1860\u20131920, ed. Norma Broude (Abrams, 1990), pp. 18, pl. 12; 19.\n\nWilliam H. Gerdts, \u201cImpressionism in the United States,\u201d in World Impressionism: The International Movement, 1860\u20131920, ed. Norma Broude (Abrams, 1990), p. 57.\n\nJohn Milner, Atelier d\u2019artistes: Paris, capital des arts \u00e0 la fin du XIXe si\u00e8cle, trans. B\u00e9atrix Blavier (Du May, 1990), p. 155 (ill.).\n\nKatsumi Miyazaki, Insho-ha no miryoku [Attractions of Impressionism], Great History of Art (Dohosha Shuppan, 1990), pp. 92\u201393 (ill.), 143 (ill.).\n\nJohn Russell Taylor, Impressionist Dreams: The Artists and the World They Painted (Barrie & Jenkins, 1990), p. 36 (ill.).\n\nChristopher Andreae, \u201cGustave Caillebotte\u2019s \u2018New\u2019 Paris,\u201d Christian Science Monitor, Jan. 29, 1990, pp. 16, 17 (ill.).\n\nMichael Boodro, \u201cArt and Fashion: A Fine Romance,\u201d Art News 89, 7 (Sept. 1990), p. 126 (ill.).\n\nJean des Cars and Pierre Pinon, Paris-Haussmann: \u201cLe pari d\u2019Haussmann,\u201d exh. cat. (Pavillon de l\u2019Arsenal, 1991), p. 313.\n\nBernard Denvir, Impressionism: The Painters and the Paintings (Studio Editions, 1991), pp. 244, pl. 233; 418.\n\nMary Ellen Jordan Haight, Paris Portraits: Renoir to Chanel; Walks on the Right Bank (Gibbs Smith, 1991), pp. 43 (ill.), 44.\n\nMartha Kapos, ed., The Impressionists: A Retrospective (Hugh Lauter Levin\/Macmillan, 1991), p. 119, pl. 39.\n\nMichael F. Zimmermann, Les mondes de Seurat: Son oeuvre et le d\u00e9bat artistique de son temps (Fonds Mercator, 1991), p. 126, fig. 236.\n\nPatrick Bade, Renoir (Studio Editions, 1992), pp. 16 (ill.), 142.\n\nHubert Beck, \u201cUrban Iconography in Nineteenth-Century American Painting: From Impressionism to the Ashcan School,\u201d 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), pp. 324; 326\u201327, fig. 5.\n\nRichard R. Brettell, \u201cCamille Pissarro and Urban View Painting: An Introduction,\u201d in Richard R. Brettell and Joachim Pissarro, The Impressionists and the City: Pissarro\u2019s Series Paintings, ed. MaryAnne Stevens, exh. cat. (Royal Academy of Arts, 1992), pp. xv; xvii, fig. 5.\n\nOtto Friedrich, Olympia: Paris in the Age of Manet (HarperCollins, 1992), opp. 77 (ill.).\n\nKathleen Pyne, \u201cResisting Modernism: American Painting in the Culture of Conflict,\u201d 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.\n\nMaryAnne Stevens, ed., Alfred Sisley, exh. cat. (Royal Academy of Arts, London\/Mus\u00e9e d\u2019Orsay\/Walters Art Gallery\/Yale University Press, 1992), p. 134.\n\nArt 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.).\n\nArt Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago\/Abbeville, 1993), pp. 6, 21, 69 (ill.), 325.\n\nGloria Groom, \u00c9douard Vuillard: Painter-Decorator; Patrons and Projects, 1892\u20131912 (Yale University Press, 1993), p. 171, pl. 271.\n\nCharles Harrison, \u201cImpressionism, Modernism, and Originality,\u201d 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. 158; 159, pl. 150; 169.\n\nJean-Marie Baron, Caillebotte: Impressionniste (Herscher, 1994), pp. 24\u201325 (ill.).\n\nMarie Berhaut, Gustave Caillebotte: Catalogue raisonn\u00e9 des peintures et pastels, with assistance by Sophie Pietri (Wildenstein Institute, 1994), pp. 33; 34; 92\u201393, cat. 57 (ill.); 282.\n\n\u00c9ric Darragon, Caillebotte, Tout l\u2019art (Flammarion, 1994), pp. 59, 60\u201361 (ill.), 62, 131, 147.\n\nAnne Distel, \u201cChronologie,\u201d in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848\u20131894, trans. Jeanne Bouniort, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), p. 353.\n\nAnne Distel, \u201cGustave Caillebotte, peintre, m\u00e9c\u00e8ne et collectionneur,\u201d in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848\u20131894, trans. Jeanne Bouniort, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), pp. 23; 30, n. 49.\n\nAnne Distel, \u201cNaissance d\u2019un impressionniste,\u201d in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848\u20131894, trans. Jeanne Bouniort, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), p. 96.\n\nAnne Distel, \u201cYerres,\u201d in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848\u20131894, trans. Jeanne Bouniort, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), pp. 104, 110.\n\nAnne Distel and Rodolphe Rapetti, \u201cAu Petit Gennevilliers,\u201d in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848\u20131894, trans. Jeanne Bouniort, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), p. 303.\n\nBernhard Geyer, Scheinwelten: Die Geschichte der Perspektive (E. A. Seemann, 1994), pp. 77, 79 (ill.).\n\nGloria Groom, \u201cFleurs,\u201d in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848\u20131894, trans. Jeanne Bouniort, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), p. 347.\n\nGloria Groom, \u201cInt\u00e9rieurs et portraits,\u201d in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848\u20131894, trans. Jeanne Bouniort, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), pp. 217, n 44; 235; 247.\n\nJean-Jacques L\u00e9v\u00eaque, Gustave Caillebotte: L\u2019oubli\u00e9 de l\u2019impressionnisme, 1848\u20131894 (ACR \u00c9dition, 1994), pp. 99\u2013101 (ill.).\n\nRodolphe Rapetti, \u201cParis, vu d\u2019une fen\u00eatre,\u201d in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848\u20131894, trans. Jeanne Bouniort, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), p. 182.\n\nJulia Sagraves, \u201cLa rue,\u201d in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848\u20131894, trans. Jeanne Bouniort, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), pp. 128\u2013129 (ill.); 130; 136\u2013139; 146; 148; 152\u2013156, cat. 35 (ill.).\n\nKirk Varnedoe, \u201cCherchez l\u2019intrus: Une br\u00e8ve historiographie des changements de situation de Caillebotte dans l\u2019histoire de l\u2019art,\u201d in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848\u20131894, trans. Jeanne Bouniort, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 1994), pp. 14\u201315.\n\nH. Barbara Weinberg, Doreen Bolger, and David Park Curry, American Impressionism and Realism: The Painting of Modern Life, 1885\u20131915, with the assistance of N. Mishoe Brennecke, exh. cat. (Metropolitan Museum of Art, New York\/Abrams, 1994), pp. 12; 174; 175, fig. 160.\n\nMarie-Am\u00e9lie Anquetil, \u201cCaillebotte: Peintre et cin\u00e9aste,\u201d Caillebotte, Dossier de l\u2019art 20 (Sept. 1994), pp. 51, 54, 56, 60.\n\nMarie-Am\u00e9lie Anquetil, \u201cDans les all\u00e9es d\u2019une oeuvre,\u201d Caillebotte, Dossier de l\u2019art 20 (Sept. 1994), pp. 12\u201313 (ill.).\n\nJ\u00e9r\u00f4me Coignard, \u201cCaillebotte: Le blues des grands boulevards,\u201d Beaux-arts 126 (Sept. 1994), front cover (detail); pp. 3 (ill.), 58\u201359 (detail), 64, 68.\n\nCharles Storch, \u201cNot All Art Institute Visitors Want to Pore Over New \u2018Rainy Day,\u2019\u201d Chicago Tribune, Sept. 14, 1994, p. 20.\n\nRussell Ash, ed., Impressionists\u2019 Seasons (Pavilion, 1995), pp. 72\u201373 (ill.).\n\nAlbert Boime, Art and the French Commune: Imagining Paris after War and Revolution, Nineteenth-Century Art, Culture, and Society (Princeton University Press, 1995), pp. xii; 92, fig. 63.\n\nAnne Distel, \u201cThe Birth of an Impressionist,\u201d 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. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), p. 52.\n\nAnne Distel, \u201cChronology,\u201d 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. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), p. 313.\n\nAnne Distel, \u201cIntroduction: Caillebotte as Painter, Benefactor, and Collector,\u201d 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. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), pp. 20; 26, n. 49.\n\nAnne Distel, \u201cYerres,\u201d 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. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), pp. 60, 66.\n\nAnne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. cat. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), front cover (detail); p. 11.\n\nAnne Distel and Rodolphe Rapetti, \u201cPetit Gennevilliers and Argenteuil,\u201d 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. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), p. 291.\n\nGloria Groom, \u201cFloral Still Lifes,\u201d 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. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), p. 309.\n\nGloria Groom, \u201cInteriors and Portraits,\u201d 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. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), pp. 190, n. 43; 196; 209.\n\nDavid P. Jordan, Transforming Paris: The Life and Labors of Baron Haussmann (Free Press, 1995), opp. p. 328 (ill.).\n\nRodolphe Rapetti, \u201cParis Seen from a Window,\u201d 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. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), p. 145.\n\nJulia Sagraves, \u201cThe Street,\u201d 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. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), pp. 88; 92; 94\u201398; 99; 100; 101; 110; 112; 116\u201322, cat. 35 (ill.).\n\nKirk Varnedoe, \u201cOdd Man In: A Brief Historiography of Caillebotte\u2019s Changing Roles in the History of Art,\u201d 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. (Mus\u00e9e d\u2019Orsay\/Art Institute of Chicago, 1995), pp. 13, 14.\n\n\u201cHistoria del impresionismo,\u201d Saber ver: Lo contempor\u00e1neo del arte 20 (Jan.\u2013Feb. 1995), p. 53 (ill.).\n\nAlan Artner, \u201cUrban Landscapes,\u201d Chicago Tribune Magazine, Feb. 12, 1995, p. 26 (ill.).\n\nRichard Brettell, \u201cGustave Caillebotte and \u2018The New Painting\u2019: A Centennial Review,\u201d Apollo 142, 406 (Dec. 1995), pp. 56; 57, fig. 4; 58.\n\nRuth Berson, ed., The New Painting: Impressionism, 1874\u20131886; 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\u201359, 163, 164, 165, 167, 169, 173, 175, 176, 183, 187, 188, 190, 191.\n\nRuth Berson, ed., The New Painting: Impressionism, 1874\u20131886; Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco\/University of Washington Press, 1996), pp. 69, 85 (ill.).\n\nRobert Boardingham, Impressionist Masterpieces in American Museums (Hugh Lauter Levin, 1996), pp. 68\u201369 (ill.), 70.\n\nPatty Lurie, Guide to Impressionist Paris (Lilburne\/Parigramme, 1996), pp. 88\u201389 (ill.).\n\nMarietta S. Millet, Light Revealing Architecture (Van Nostrand Reinhold, 1996), pp. 23; 24, fig. 1\u201331.\n\nEllen Williams, \u201cImpressions of Paris,\u201d Guggenheim Magazine (Fall 1996), pp. 46 (ill.), 47.\n\nKerry Brougher, Jeff Wall, exh. cat. (Museum of Contemporary Art, Los Angeles\/Scalo, 1997), p. 27 (ill.).\n\nAnne Grevstad-Nordbrock, \u201cA Stolen Kiss: Robert Doisneau\u2019s Photographic Icon,\u201d Visual Resources: An International Journal of Documentation 13, 2 (1997), pp. 192; 193, fig. 2.\n\nM. Therese Southgate, The Art of JAMA: One Hundred Covers and Essays from the Journal of the American Medical Association (Mosby, 1997), pp. 4\u20135 (ill.).\n\nClare Kunny, \u201cTaking the Tour: How a Museum Lecturer Looks at the Museum,\u201d New Art Examiner 24, 5 (Feb. 1997), pp. 36; 37; 38, n. 1.\n\nRose-Marie and Rainer Hagen, \u201cUnter dem Regenschirm herrscht eine noble Einsamkeit,\u201d Art: Das Kunstmagazin 10 (Oct. 1997), pp. 82\u201383 (ills.), 84 (detail), 85 (detail), 86 (detail), 87 (detail).\n\nLyn H. Lofland, The Public Realm: Exploring the City\u2019s Quintessential Social Territory (Aldine de Gruyter, 1998), pp. 134; 135, ill. 5.12.\n\nJuliet Wilson-Bareau, Manet, Monet, and the Gare Saint-Lazare, exh. cat. (National Gallery of Art, Washington, D.C.\/Yale University Press, 1998), pp. 80; 86, fig. 76; 87; 90; 91; 105.\n\nJuliet Wilson-Bareau, Manet, Monet, la gare Saint-Lazare, trans. Isabelle Taudi\u00e8re, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux\/Yale University Press, 1998), pp. 80; 86, fig. 76; 87; 88; 90.\n\nWarren Adelson, \u201cChilde Hassam: Cosmopolitan and Patriot,\u201d in Warren Adelson, Jay Cantor, and William H. Gerdts, Childe Hassam: Impressionist (Abbeville, 1999), pp. 12; 14\u201315, pl. 11.\n\nArt Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago\/Hudson Hills, 1999), pp. 8\u20139, 54 (ill.).\n\nRichard R. Brettell, Modern Art, 1851\u20131929: Capitalism and Representation (Oxford University Press, 1999), p. 54, fig. 37.\n\nSteve Edwards, Art and Its Histories: A Reader (Yale University Press\/Open University, 1999), pp. 196; 197, fig. xix.\n\nAndrea Frey, Der Stadtraum in der franz\u00f6sischen Malerei, 1860\u20131900 (Reimer, 1999), pp. 151; 153; 160; 161; 163\u201364; 166; 167; 169; 170; 171; 172; fig. 56.\n\nJames Henry Rubin, Impressionism, Art and Ideas (Phaidon, 1999), pp. 44, fig. 21; 296\u201397.\n\nMichael Fried, \u201cCaillebotte\u2019s Impressionism,\u201d Representations 66 (Spring 1999), pp. 25, fig. 16; 26\u201327; 31; 44; 45.\n\nSotheby\u2019s, New York, La Belle Epoque: Paintings, Drawings and Sculpture, sale cat. (Sotheby\u2019s, New York, May 5, 1999), pp. 44, 45 (ill.).\n\nArt Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago\/Hudson Hills, 2000), p. 55 (ill.).\n\nArt Institute of Chicago, Treasures from the Art Institute of Chicago, selected by James N. Wood, with commentaries by Debra N. Mancoff (Art Institute of Chicago\/Hudson Hills, 2000), pp. 15, 183, 204 (ill.).\n\nPatrick Shaw Cable, \u201cQuestions of Work, Class, Gender, and Style in the Art and Life of Gustave Caillebotte\u201d (Ph.D. diss., Case Western Reserve University, 2000), pp. 11; 28; 31; 66; 67; 127; 146; 214; 244, fig. 1.\n\nRenaud Temperini, La peinture fran\u00e7aise, under the direction of Pierre Rosenberg, vol. 2 (Meng\u00e8s, 2001), p. 776 (ill.).\n\nPatricia G. Berman, James Ensor: Christ\u2019s Entry into Brussels in 1889, Getty Museum Studies on Art (J. Paul Getty Museum, 2002), pp. 20; 22\u201323, fig. 20.\n\nNorma Broude, \u201cOuting Impressionism: Homosexuality and Homosocial Bonding in the Work of Caillebotte and Bazille,\u201d in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. Norma Broude (Rutgers University Press, 2002), pp. 124, 127.\n\nPatrick Shaw Cable, \u201cCaillebotte and Modern Realist Concerns during the First Impressionist Exhibitions,\u201d Excavatio 17, 1\u20132 (2002), pp. 155\u201356; 166, fig. 2.\n\nPier Giovanni Castagnoli, Barbara Cinelli, and Maria Mimita Lamberti, De Nittis e la pittura della vita moderna in Europa (Galleria Civica d\u2019Arte Moderna e Contemporanea, 2002), p. 166.\n\nMaria Mimita Lamberti, \u201cMitografie parigine nel secondo ottocento,\u201d in Pier Giovanni Castagnoli, Barbara Cinelli, and Maria Mimita Lamberti, De Nittis e la pittura della vita moderna in Europa (Galleria Civica d\u2019Arte Moderna e Contemporanea, 2002), pp. 50\u201351 (ill.).\n\nSculpture Foundation, Solid Impressions: J. Seward Johnson, Jr. (Sculpture Foundation, 2002), p. 10 (ill.).\n\nSylvie Patin, L\u2019impressionisme (Biblioth\u00e8que des Arts, 2002), pp. 134; 136, fig. 99; 298.\n\nJ. Kirk T. Varnedoe, \u201cCaillebotte\u2019s Pont de l\u2019Europe,\u201d in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. Norma Broude (Rutgers University Press, 2002), pp. 11; 15; 18, n. 7; 19, n. 11.\n\nRichard R. Brettell, \u201cA View from Portland: 110 Years of Modern French Art in Portland,\u201d in Paris to Portland: Impressionist and Post-Impressionist Masters in Portland Collections, exh. cat. (Portland Art Museum, 2003), p. 30, fig. 2.\n\nCorcoran Gallery of Art, Beyond the Frame: Impressionism Revisited; The Sculptures of J. Seward Johnson, Jr., with an essay by Petra ten-Doesschate Chu (Bulfinch, 2003), pp. 10 (ill.), 122 (ill.).\n\nPetra ten-Doesschate Chu, Nineteenth-Century European Art (Prentice-Hall\/Abrams, 2003), pp. 392, fig. 16.39.\n\nAnn Dumas, Degas and the Italians in Paris (National Galleries of Scotland, 2003), pp. 15; 16, fig. 5; 23.\n\nMichel Laclotte, The Art and Spirit of Paris (Abbeville, 2003), pp. 900\u2013903 (detail); 904; 989, fig. 6.76; 997.\n\nHenry Plummer, Masters of Light, vol. 1, Twentieth-Century Pioneers, Architecture and Urbanism (E ando Yu, 2003), pp. 50; 51, fig. 1.\n\nGriselda Pollock, Vision and Difference: Feminism, Femininity, and the Histories of Art (Routledge, 2003), pp. 72; 73, fig. 3.2.\n\nChristie\u2019s, New York, Impressionist and Modern Art (Evening Sale), sale cat. (Christie\u2019s, New York, Nov. 4, 2003), p. 44, fig. 6.\n\nStephanie L. Herdrich, \u201cHassam in Paris, 1886\u20131889,\u201d in H. Barbara Weinberg, Childe Hassam: American Impressionist, with contributions by Elizabeth E. Barker et al., exh. cat. (Metropolitan Museum of Art\/Yale University Press, 2004), pp. 43, fig. 37; 44.\n\nSharon L. Hirsh, Symbolism and Modern Urban Society (Cambridge University Press, 2004), pp. 63; 64, fig. 24; 67; 79.\n\nJohn House, Impressionism: Paint and Politics (Yale University Press, 2004), pp. 117; 118, pl. 107; 138.\n\nErik M\u00f8rstad, \u201cChristian Krohg i Skagen: Et Norsk Perspektiv,\u201d in Christian Krohg og Skagen, exh. cat. (Skagens Museum\/Lillehammer Kunstmuseum, 2004), pp. 17; 23, fig. 1.\n\nRodolphe Rapetti, \u201cGustave Caillebotte e la Senna,\u201d in Monet la Senna le ninfee: Il grande fiume e il nuovo secolo, ed. Marco Goldin, exh. cat. (Linea d\u2019Ombra, 2004), p. 79.\n\nH. Barbara Weinberg, \u201cHassam in New York, 1889\u20131896,\u201d in H. Barbara Weinberg, Childe Hassam: American Impressionist, with contributions by Elizabeth E. Barker et al., exh. cat. (Metropolitan Museum of Art\/Yale University Press, 2004), p. 58.\n\nChristopher Lloyd, \u201cLes dessins de Gustave Caillebotte,\u201d in Juliane Cosandier, Caillebotte: Au coeur de l\u2019impressionnisme, assisted by Sylvie Wuhrmann, exh. cat. (Fondation de l\u2019Hermitage\/Biblioth\u00e8que des Arts, 2005), pp. 43, 45.\n\nCaroline Mathieu, \u201cGustave Caillebotte et le nouveau Paris,\u201d in Juliane Cosandier, Caillebotte: Au coeur de l\u2019impressionnisme, assisted by Sylvie Wuhrmann, exh. cat. (Fondation de l\u2019Hermitage\/Biblioth\u00e8que des Arts, 2005), pp. 27; 28; 29, fig. 3.\n\nNancy Forgione, \u201cEveryday Life in Motion: The Art of Walking in Late-Nineteenth-Century Paris,\u201d Art Bulletin 86, 4 (Dec. 2005), pp. 675, fig. 10; 676.\n\nMarco Goldin, ed., Turner e gli impressionisti: La grande storia del paesaggio moderno in Europa, exh. cat. (Linea d\u2019Ombra, 2006), p. 274.\n\nMarni Reva Kessler, Sheer Presence: The Veil in Manet\u2019s Paris (University of Minnesota Press, 2006), pp. xvii; xviii, fig. 1; 12.\n\nCaroline Mathieu, \u201cEug\u00e8ne Haussmann und das Neue Paris,\u201d 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.\n\nGabriel P. Weisberg, \u201cThe Urban Mirror: Contrasts in the Vision of Existence in the Modern City,\u201d in Paris and the Countryside: Modern Life in Late-19th-Century France, exh. cat. (Portland Museum of Art, 2006), pp. 46; 47, fig. 35.\n\nRuth E. Iskin, Modern Women and Parisian Consumer Culture in Impressionist Painting (Cambridge University Press, 2007), pp. 12; 66; 116\u201317; 118, fig. 48; 119\u201323; 124; 125\u201326; 130; 132; 244; 245; 246.\n\nRobyn Roslak, Neo-Impressionism and Anarchism in Fin-de-Si\u00e8cle France: Painting, Politics and Landscape (Ashgate, 2007), pp. 68; 69, fig. 3.3.\n\nClive Scott, Street Photography: From Atget to Cartier-Bresson (I. B. Tauris, 2007), pp. x; 51, fig. 12.\n\nPeter B\u00fcrger, \u201cMedia Differences: Caillebotte and Maupassant as Storytellers,\u201d in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter B\u00fcrger et al., exh. cat. (Hatje Cantz, 2008), p. 27.\n\nDaniel Charles, \u201cCaillebotte and Boating,\u201d in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter B\u00fcrger et al., exh. cat. (Hatje Cantz, 2008), p. 112.\n\nAnne-Birgitte Fonsmark, \u201cGustave Caillebotte: In the Midst of Impressionism; An Introduction,\u201d in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter B\u00fcrger et al., exh. cat. (Hatje Cantz, 2008), pp. 12; 13, fig. 3.\n\nGloria Groom and Douglas Druick, The Impressionists: Master Paintings from the Art Institute of Chicago, with the assistance of Dorota Chudzicka and Jill Shaw, exh. cat. (Art Institute of Chicago\/Kimbell Art Museum, 2008), pp. 2 (detail); 4; 19; 55; 56\u201357, cat. 18 (ill.); 85. 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. 2 (detail); 4; 19; 55; 56\u201357, cat. 18 (ill.); 85.\n\nGary Hedin, \u201cRadical Perspectives I: Visions of Modern Paris,\u201d in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter B\u00fcrger et al., exh. cat. (Hatje Cantz, 2008), p. 56.\n\nArt Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), pp. 216 (ill.), 286.\n\nArt 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 (ill.).\n\nRichard 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.\nR. Samuel Roche and Aric Lasher, Plans of Chicago (Architects Research Foundation\/University of Chicago Press, 2009), p. 45, fig. 4.7.\n\nJames Rondeau, \u201cNew Art\/Old Museum: Contemporary Artists Engaging the Encyclopedia,\u201d in Curating Now, ed. Helen O\u2019Donoghue (Irish Museum of Modern Art, 2009), pp. 124, 140 (ill.).\n\nKarin Sagner, Gustave Caillebotte: Neue Perspektiven des Impressionismus (Himer, 2009), pp. 12; 18\u201319 (detail); 30\u201331, pl. 1; 33 (detail).\n\nJohn Russell Taylor, Exactitude: Hyperrealist Art Today, ed. Maggie Bollaert (Thames & Hudson, 2009), pp. 28 (ill.), 29.\n\nHartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. Sandra Gianfreda, exh. cat. (Folkwang\/Steidl, 2010), pp. 126\u201327, cat. 11 (ill.); 302.\n\nJames H. Rubin, \u201cDas impressionistische Stadtbild als Emblem der Moderne,\u201d in Hartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. Sandra Gianfreda, exh. cat. (Folkwang\/Steidl, 2010), pp. 75, 77.\n \nMalcolm Park, \u201cThree Street Drawings by Gustave Caillebotte,\u201d Burlington Magazine 152, 1289 (Aug. 2010), pp. 536, fig. 30; 538.\n\n\u00c9ric Darragon, \u201cGustave Caillebotte, une nouvelle peinture,\u201d in Serge Lemoine et al., Dans l\u2019intimit\u00e9 des fr\u00e8res Caillebotte: Peintre et photographe, exh. cat. (Flammarion\/Culturspaces\/Mus\u00e9e National des Beaux-Arts du Qu\u00e9bec\/Mus\u00e9e Jacquemart-Andr\u00e9, Institute de France, 2011), pp. 36, fig. 1; 37; 64.\n\nBurcu Dogramaci, Wechselbeziehungen: Mode, Malerei und Fotografie im 19. Jahrhundert (Jonas, 2011), pp. 28; 29, fig. 13.\n\nMichelle Facos, An Introduction to Nineteenth-Century Art (Routledge, 2011), pp. 308; 309, fig. 12.1; 310.\n\nAndr\u00e9 Dombrowski, \u201cHistory, Memory, and Instantaneity in Edgar Degas\u2019s Place de la Concorde,\u201d Art Bulletin 93, 2 (June 2011), p. 199, fig. 6.\n\nColin B. Bailey, Renoir, Impressionism, and Full-Length Painting, exh. cat. (Frick Collection\/Yale University Press, 2012), pp. 150; 151, fig. 15; 154.\n\nGloria Groom, ed., Impressionism, Fashion, and Modernity, exh. cat. (Art Institute of Chicago\/Metropolitan Museum of Art, New York\/Mus\u00e9e d\u2019Orsay\/Yale University Press, 2012), p. 291, cat. 93 (ill.).\n\nGloria Groom, ed., L\u2019impressionnisme et la mode, exh. cat. (Mus\u00e9e d\u2019Orsay\/Skira Flammarion, 2012), p. 298, cat. 35.\n\nGloria Groom, \u201cSpaces of Modernity,\u201d in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago\/Metropolitan Museum of Art, New York\/Mus\u00e9e d\u2019Orsay\/Yale University Press, 2012), pp. 165, 166, 168.\n\nGloria Groom, \u201cLes espaces de la modernit\u00e9,\u201d in L\u2019impressionnisme et la mode, ed. Gloria Groom, exh. cat. (Mus\u00e9e d\u2019Orsay\/Skira Flammarion, 2012), pp. 46, 47.\n\nAileen Ribeiro, \u201cGustave Caillebotte, Paris Street; Rainy Day,\u201d in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago\/Metropolitan Museum of Art, New York\/Mus\u00e9e d\u2019Orsay\/Yale University Press, 2012), pp. 184; 185 (detail); 188, cat. 93 (ill.); 189\u201395.\n\nAileen Ribeiro, \u201cGustave Caillebotte, Rue de Paris; temps de pluie,\u201d in L\u2019impressionnisme et la mode, ed. Gloria Groom, exh. cat. (Mus\u00e9e d\u2019Orsay\/Skira Flammarion, 2012), pp. 64, cat. 35 (ill.); 65\u201373.\n\nKarin Sagner, \u201cGustave Caillebotte: An Impressionist and Photography,\u201d 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.\n\nKarin 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.\n\nDavid van Zanten, \u201cLooking Through, Across, and Up: The Architectural Aesthetics of the Paris Street,\u201d in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago\/Metropolitan Museum of Art, New York\/Mus\u00e9e d\u2019Orsay\/Yale University Press, 2012), p. 154.\n\nArt Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by Douglas Druick (Art Institute of Chicago\/Yale University Press, 2013), pp. 9, 54 (ill.).\n\nClaude P. J. Ghez and Pietro Galifi della Bagliva, \u201cDeconstructing Gustave Caillebotte\u2019s Le Pont de l\u2019Europe (1876),\u201d in Gustave Caillebotte: Impressionist in Modern Paris, ed. Shimbata Yasuhide, exh. cat. (Bridgestone Museum of Art\/Ishibashi Foundation, 2013), pp. 230, 240.\n\nShimade Norio, \u201cGustave Caillebotte and the Impressionist Exhibitions: Bonds of Trust with Renoir, Friendship with Monet, Conflict with Degas,\u201d in Gustave Caillebotte: Impressionist in Modern Paris, ed. Shimbata Yasuhide, exh. cat. (Bridgestone Museum of Art\/Ishibashi Foundation, 2013), pp. 22, 25, 26, 27.\n\nVirginie Pouzet-Duzer, L\u2019impressionnisme litt\u00e9raire, Culture et soci\u00e9t\u00e9 (Presses Universitaires de Vincennes, 2013), pp. 287; 289, fig. 30; 349.\n\nKuraishi Shino, \u201cCaillebotte and Photographic Sense of Vision,\u201d in Gustave Caillebotte: Impressionist in Modern Paris, ed. Shimbata Yasuhide, exh. cat. (Bridgestone Museum of Art\/Ishibashi Foundation, 2013), p. 271.\n\nShimbata Yasuhide, \u201cCaillebotte and the Modern City of Paris: In a Time of Upheaval,\u201d in Gustave Caillebotte: Impressionist in Modern Paris, ed. Shimbata Yasuhide, exh. cat. (Bridgestone Museum of Art\/Ishibashi Foundation, 2013), p. 268.\n\nShimbata Yasuhide, ed., Gustave Caillebotte: Impressionist in Modern Paris, exh. cat. (Bridgestone Museum of Art\/Ishibashi Foundation, 2013), pp. 102 (ill.), 257, 260, 261.\n\nShimbata Yasuhide, \u201cReexamining Gustave Caillebotte\u2019s Young Man Playing the Piano,\u201d in Gustave Caillebotte: Impressionist in Modern Paris, ed. Shimbata Yasuhide, exh. cat. (Bridgestone Museum of Art\/Ishibashi Foundation, 2013), p. 44.\n\nElizabeth Benjamin, \u201cAll the Discomforts of Home: Caillebotte and the Nineteenth-Century Bourgeois Interior,\u201d in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter\u2019s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, St\u00e9phane Gu\u00e9gan, and Sarah Kennel, exh. cat. (National Gallery of Art, Washington, D.C.\/Kimbell Art Museum, 2015), p. 86.\n\nSarah Kennel, \u201cPhotograph and the Painter\u2019s Eye,\u201d in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter\u2019s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, St\u00e9phane Gu\u00e9gan, and Sarah Kennel, exh. cat. (National Gallery of Art, Washington, D.C.\/Kimbell Art Museum, 2015), pp. 108 (detail); 110; 114\u201315; 116\u201317; 118; 264, n. 9.\n\nMichael Marrinan, \u201cCaillebotte\u2019s Deep Focus,\u201d in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter\u2019s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, St\u00e9phane Gu\u00e9gan, and Sarah Kennel, exh. cat. (National Gallery of Art, Washington, D.C.\/Kimbell Art Museum, 2015), pp. 28, 31, 33\u201336.\n\nMary Morton, \u201cCaillebotte in Contemporary Criticism,\u201d in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter\u2019s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, St\u00e9phane Gu\u00e9gan, and Sarah Kennel, exh. cat. (National Gallery of Art, Washington, D.C.\/Kimbell Art Museum, 2015), pp. 61\u201362, 63.\n\nMary Morton, with Camille Mathieu, Galina Olmsted, and George T. M. Shackelford, \u201cCatalog,\u201d in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter\u2019s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, St\u00e9phane Gu\u00e9gan, and Sarah Kennel, exh. cat. (National Gallery of Art, Washington, D.C.\/Kimbell Art Museum, 2015), pp. 124; 125; 133, cat. 4 (ill.); 138.\n\nMary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter\u2019s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, St\u00e9phane Gu\u00e9gan, and Sarah Kennel, exh. cat. (National Gallery of Art, Washington, D.C.\/Kimbell Art Museum, 2015), back cover, cat. 4 (detail); pp. 7, 19, 277.\n\nGeorge T. M. Shackelford, \u201cMan in the Middle,\u201d in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter\u2019s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, St\u00e9phane Gu\u00e9gan, and Sarah Kennel, exh. cat. (National Gallery of Art, Washington, D.C.\/Kimbell Art Museum, 2015), pp. 40, 41, 45, 46\u201347, 48, 49, 55.\n\nCaroline Shields, \u201cCaillebotte\u2019s Posthumous Reputation, 1894\u20131994,\u201d in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter\u2019s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, St\u00e9phane Gu\u00e9gan, and Sarah Kennel, exh. cat. (National Gallery of Art, Washington, D.C.\/Kimbell Art Museum, 2015), pp. 244; 267, n. 14; 248; 249.\n\nAlexandra K. Wettlaufer, \u201cPaintings of Modern Life: Representing Modernity in Baudelaire, Balzac, Zola, and Caillebotte,\u201d in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter\u2019s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, St\u00e9phane Gu\u00e9gan, and Sarah Kennel, exh. cat. (National Gallery of Art, Washington, D.C.\/Kimbell Art Museum, 2015), pp. 72, 73.\n\n\u201cCat. 2: Paris Street; Rainy Day, 1877,\u201d in Caillebotte Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Genevieve Westerby (Art Institute of Chicago, 2015). https:\/\/publications.artic.edu\/caillebotte\/reader\/paintingsanddrawings\/section\/574\/574_anchor<\/a>\n\nJill Shaw, Framing Life, cat. exh. (The Detroit Institute of Art\/ Yale University Press, 2017), p. 31, fig. 20 (ill.)\n\nGleis, Ralph, et. al., Gustave Caillebotte, Painter and Patron of Impressionism, exh. cat. (Hirmer 2019), pp. 40-41.\n\nClaude 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. 3 and 4 (with drawings superimposed).\n\nScott Allan, Gloria Groom and Paul Perrin, eds., Caillebotte. Peindre les Hommes, exh. cat. (Paris: Mus\u00e9e d'Orsay: Hazan, 2024), 9, 12, 108-09 cat. 78 (ill.), 124\u2013128, 132n8, 244.\n\nScott Allan, Gloria Groom and Paul Perrin, eds., Gustave Caillebotte: Painting Men, exh. cat. (Los Angeles: J. Paul Getty Trust, 2024), vi (detail ill.), vii, 9, 61. 63, 68, 70, 129 (ill.), 206, 224.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 80 (ill.).\n\nJames Rondeau, ed., Highlights of the Art Institute of Chicago (New Haven and London: Yale University Press, 2026), 119, 261, no. 86, (ill.).","exhibition_history":"Paris, 6, rue le Peletier, 3e exposition de peinture [third Impressionist exhibition], Apr. 1877, cat. 1, as Rue de Paris; Temps de pluie.\n\nParis, Durand-Ruel, Exposition r\u00e9trospective d\u2019oeuvres de G. Caillebotte, June 4\u201316, 1894, cat. 47.\n \nParis, Galerie Beaux-Arts, R\u00e9trospective Gustave Caillebotte, May 25\u2013July 25, 1951, cat. 13.\n \nPortland (Ore.) Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., Mar. 2\u2013Apr. 15, 1956, cat. 78 (ill.); Seattle Art Museum, Apr. 27\u2013May 27, 1956; San Francisco, California Palace of the Legion of Honor, opened June 11, 1956; Los Angeles County Museum, July 27\u2013Aug. 26, 1956; Minneapolis Institute of Arts, Sept. 7\u2013Oct. 9, 1956; City Art Museum of Saint Louis, Oct. 20\u2013Nov. 19, 1956; Kansas City, William Rockhill Nelson Gallery of Art, Dec. 2\u201330, 1956; Detroit Institute of Arts, Jan. 18\u2013Feb. 17, 1957; Museum of Fine Arts, Boston, Mar. 8\u2013Apr. 7, 1957. \n\nDayton (Ohio) Art Institute, French Paintings, 1789\u20131929: From the Collection of Walter P. Chrysler, Jr., Mar. 25\u2013May 22, 1960, cat. 56 (ill.).\n\nMinneapolis Institute of Arts, The Past Rediscovered: French Painting, 1800\u20131900, July 3\u2013Sept. 7, 1969, cat. 7 (ill.).\n\nMuseum of Fine Arts, Houston, Gustave Caillebotte: A Retrospective Exhibition, Oct. 22, 1976\u2013Jan. 2, 1977, cat. 25 (ill.); Brooklyn Museum, Feb. 12\u2013Apr. 24, 1977 (Houston only).\n\nWashington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874\u20131886, Jan. 17\u2013Apr. 6, 1986, cat. 38 (ill.); Fine Arts Museums of San Francisco and M. H. de Young Memorial Museum, Apr. 19\u2013July 6, 1986.\n\nArt Institute of Chicago, The Art of the Edge: European Frames, 1300\u20131900, Oct. 17\u2013Dec. 14, 1986, not in cat.\n\nParis, Galeries Nationales du Grand Palais, Gustave Caillebotte, 1848\u20131894, Sept. 16, 1994\u2013Jan. 9, 1995, cat. 35 (ill.); Art Institute of Chicago, as Gustave Caillebotte: Urban Impressionist, Feb. 18\u2013May 28, 1995; Los Angeles County Museum of Art, June 22\u2013Sept. 10, 1995.\n\nFort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29\u2013Nov. 2, 2008, cat. 18 (ill.).\n\nEssen, Germany, Museum Folkwang, Bilder einer Metropole: Die Impressionisten in Paris, Oct. 2, 2010\u2013Jan. 30, 2011, cat. 11 (ill.).\n\nParis, Mus\u00e9e d\u2019Orsay, L\u2019impressionnisme et la mode, Sept. 25, 2012\u2013Jan. 20, 2013, cat. 35 (ill.); Metropolitan Museum of Art, New York, as Impressionism, Fashion, and Modernity, Feb. 26\u2013May 27, 2013, cat. 93 (ill.); Art Institute of Chicago, June 26\u2013Sept. 29, 2013.\n \nWashington, D.C., National Gallery of Art, Gustave Caillebotte: The Painter\u2019s Eye, June 28\u2013Oct. 4, 2015, cat. 4 (ill.); Fort Worth, Tex., Kimbell Art Museum, Nov. 8, 2015\u2013Feb. 14, 2016.\n\nBerlin, Alte Nationalgalerie, Gustave Caillebotte: Painter and Patron of Impressionism, April 26 - October 8 2019. \n\nParis, Mus\u00e9e d'Orsay, Caillebotte. Peindre les Hommes, Oct. 8, 2024\u2013Jan. 19, 2025, cat. 78; Los Angelese, J. Paul Getty Museum, Gustave Caillebotte: Painting Men, Feb. 25\u2013May 25, 2025, cat. 39; Art Institute of Chicago, Gustave Caillebotte: Painting His World, June 29\u2013Oct. 5, 2025.","provenance_text":"The artist (died 1894); by descent to Martial Caillebotte (brother) and Marie Minoret (Martial\u2019s wife), Paris, 1894 [this and the two following per Portland Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., exh. cat. (Portland Art Association, 1956), p. 47. See also fact sheet provided by Wildenstein and Company, copy in curatorial object file]; placed with Georges Minoret (brother-in-law of Martial Caillebotte), Ch\u00e2teau de Montglat, Provins, France, 1900; Returned to Albert and Genevi\u00e8ve 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. cat. (Museum of Fine Arts, Houston, 1976), p. 110]; sold to Wildenstein and Company, 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 Committee 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, Art Institute of Chicago].","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":13.6209,"color":{"h":205,"l":51,"s":14,"percentage":0.04690626895945958,"population":259},"latitude":41.879583993985,"longitude":-87.6234062388538,"latlon":"41.879583993985,-87.623406238854","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 201","gallery_id":2147483643,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":3829,"artist_title":"Gustave Caillebotte","alt_artist_ids":[],"artist_ids":[3829],"artist_titles":["Gustave Caillebotte"],"category_ids":["PC-10","PC-831","PC-839"],"category_titles":["Painting and Sculpture of Europe","Essentials","Save Ferris"],"term_titles":["oil on canvas","oil painting","urban life","oil paint (paint)","Impressionism","hat","french","oil paintings (visual works)","paint","paint","painting","painting","painting techniques","19th century","building","couples","figures","Paris","rain","street","umbrellas","cityscapes","painting (image making)","canvas","painting","european painting","weather\/seasons","men","leisure","women","everyday life (genre)","water"],"style_id":"TM-7543","style_title":"Impressionism","alt_style_ids":["TM-13203"],"style_ids":["TM-7543","TM-13203"],"style_titles":["Impressionism","19th century"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-14976","TM-78","TM-10387","TM-9","TM-54"],"classification_ids":["TM-66","TM-14976","TM-78","TM-10387","TM-9","TM-54"],"classification_titles":["oil on canvas","french","oil paintings (visual works)","paint","painting","european painting"],"subject_id":"TM-10126","alt_subject_ids":["TM-15651","TM-14683","TM-9130","TM-15161","TM-12405","TM-13473","TM-15115","TM-12648","TM-8762","TM-10095","TM-10121","TM-10094","TM-8735","TM-10096","TM-8681"],"subject_ids":["TM-10126","TM-15651","TM-14683","TM-9130","TM-15161","TM-12405","TM-13473","TM-15115","TM-12648","TM-8762","TM-10095","TM-10121","TM-10094","TM-8735","TM-10096","TM-8681"],"subject_titles":["urban life","hat","building","couples","figures","Paris","rain","street","umbrellas","cityscapes","weather\/seasons","men","leisure","women","everyday life (genre)","water"],"material_id":"TM-2451","alt_material_ids":["TM-2577","TM-13502","TM-3124"],"material_ids":["TM-2451","TM-2577","TM-13502","TM-3124"],"material_titles":["oil paint (paint)","paint","painting","canvas"],"technique_id":"TM-4273","alt_technique_ids":["TM-14210","TM-3971","TM-3891"],"technique_ids":["TM-4273","TM-14210","TM-3971","TM-3891"],"technique_titles":["oil painting","painting","painting techniques","painting (image making)"],"theme_titles":["Essentials","Save Ferris"],"image_id":"f8fd76e9-c396-5678-36ed-6a348c904d27","alt_image_ids":[],"document_ids":["ff6b5bb7-0c00-ed57-2a0a-2a3545d2d73e","8313475f-a89a-035d-8a5b-93ac1bfcc69d"],"sound_ids":["8313475f-a89a-035d-8a5b-93ac1bfcc69d"],"video_ids":[],"text_ids":[],"section_ids":[421375,520264],"section_titles":["Signatures","Cat. 2 \u00a0Paris Street; Rainy Day, 1877"],"site_ids":[],"suggest_autocomplete_boosted":"Paris Street; Rainy Day","suggest_autocomplete_all":[{"input":["1964.336"],"contexts":{"groupings":["accession"]}},{"input":["Paris Street; Rainy Day"],"weight":311214,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-04-23T10:32:41-05:00","updated_at":"2026-06-10T23:27:27-05:00","timestamp":"2026-06-15T05:04:19-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. 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