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. The view shown is spacious, and details a broad view of a number of streets. The neoclassical buildings reflect the construction works of Baron Haussmann. Paris Street Rainy Day gives a view from the eastern side of the Rue de Turin, looking north toward the Place de Dublin.
#RAINY DAY IN PARIS FULL#
Cobblestones dominate one full quarter of the canvas. The strong vertical of the central green lamp post divides the painting a horizontal alignment breaks the painting into quarters the gaslight at the center of the picture throws shadows on the wet cobblestones, and divides the composition in two. The painting is highly linear its focus draws the viewer's eye to the vantage point at the center of the buildings in the background. The figures appear to have walked into the painting, as though Caillebotte was taking a snapshot of people going about their day in fact, he spent months carefully placing them within the pictorial space. He makes the middle ground section more clear, mimicking the effect of a camera. The foreground is in focus, but slightly smudged the middle ground has sharp, clear edges and well defined subjects, and the background fades into the distance, becoming more and more blurry the farther back the eye travels. The same purpose is seen in the overall clarity of the image.
He also recreates the focusing effect of the camera in the way that it sharpens certain subjects of an image, but not others. Caillebotte reproduces the effect of a camera lens in that the points at the center of the image seem to bulge. Hagen believes that given their close quarters, they will both be unable to comfortably step out of the man's way, but also their averted gaze applies equally to the viewer, who looks from a perspective equal to us. Characteristic of the positioning of the figures, the heads and eyes of the main couple are faced away from the man approaching them from their right. The umbrellas shield them, in the words of Rose-Marie Hagen, "not just from the rain, but, also it seems, from other passers by". They appear to hurry rather than stroll through the streets, absorbed in their own thoughts. The figures seem mostly isolated, and their expressions are largely downcast. The painting does not present a convivial mood. AIC curator Gloria Groom described the work as "the great picture of urban life in the late 19th century." Description It is currently owned by the Art Institute of Chicago. The painting was first shown at the Third Impressionist Exhibition of 1877. The severe cropping of some figures – particularly the man to the far right – further suggests the influence of photography. The figures in the foreground appear "out of focus", those in the mid-distance (the carriage and the pedestrians in the intersection) have sharp edges, while the features in the background become progressively indistinct. Although Caillebotte was a friend and patron of many of the impressionist painters, and this work is part of that school, it differs in its realism and reliance on line rather than broad brush strokes.Ĭaillebotte's interest in photography is evident. It shows a number of individuals walking through the Place de Dublin, then known as the Carrefour de Moscou, at an intersection to the east of the Gare Saint-Lazare in north Paris.
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. 1877 painting by Gustave Caillebotte Paris Street Rainy DayĪrt Institute of Chicago, Charles H.
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