End Notes
Exploring Gustave Caillebotte's Paris Street, Rainy Day
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[1] The name “Caillebotte” is pronounced like “Kieya-bot”, though it is frequently mispronounced as “Kalli-bot”
[2] Kirk Varnedoe, Gustave Caillebotte, Yale University Press, New Haven, 1987, at 88
[3] At the time of the painting, it was called the Carrefour de Moscou
[4] Gloria Groom and Kelly Keegan, “Paris Street; Rainy Day”, in Caillebotte: Paintings and Drawings at the Art Institute of Chicago, at 3
[5] The retractable style had just been newly invented: see Rose-Marie and Rainer Hagen, “Under the umbrella, loneliness”, in What Great Paintings Say, Vol 2, Taschen, London, 2003, at 405. Recent conservation and cleaning reveals that the canopies of the umbrellas actually have lavender tones: Groom, op cit at 9
[6] Groom, op cit at 9
[7] Before the recent conservation of the painting, these people were generally interpreted as a couple walking together: Groom, op cit
[8] Hagen, op cit at 404
[9] Julia Sagraves, cited in Michael Fried, “Caillebotte’s Impressionism”, Representations, No 66 (Spring 1999) at 26
[10] See also Fried, op cit at 26ff
[11] Cited in Hagen, op cit at 402
[12] Cited in Groom, op cit at 2
[13] Groom, op cit
[14] Varnedoe, op cit at 88
[15] See our article at https://www.artinsociety.com/pt-3-photographic-effects.html
[16] Groom, op cit at 1
[17] Groom suggests, on the basis of physical evidence, that Caillebotte may have used a camera lucida as an aid to composition in the painting (op cit at 6,7; see also Kirk Varnedoe, op cit at 20ff, 187
[18] Groom, op cit at 10
[19] Fried, op cit at 2
[20] Kirk Varnedoe, “Odd Man In”, in Ann Distel et al, Gustave Caillebotte: Urban Impressionist, Abbeville Press, New York, 1995, at 13
[21] Sue Roe, The Private Lives of the Impressionists, Chatto and Windus, London, 2006, at 145
[22] Samuel Raybone, “Gustave Caillebotte’s Interiors: Working Between Leisure and Labor”, November 2018, https://nonsite.org/article/gustave-caillebottes-interiors. For more on Caillebotte’s sailing-related activities see Daniel Charles, “Caillebotte and Boating,” in Gustave Caillebotte, Anne-Birgitte Fonsmark et al., exh. cat. Copenhagen: Ordrupgaard; Ostfildern: Hatje Cantz, 2008
[23] Raybone, op cit; for more on Caillebotte’s philatelic career, see R. D. Beech, “Note on Caillebotte as a Philatelist,” in Anne Distel, op cit at 206
[24] Anne Foster, “Caillebotte in his Garden”, La Gazette Drouot, May 2019 https://www.gazette-drouot.com/en/article/caillebotte-in-his-garden/6931; Distel, op cit at 22
[25] Charlotte was regarded as his wife by the Renoirs and presumably others (Jean Renoir, Renoir my Father (English translation), Fontana, London, 1965 at 250), though Martial’s wife Marie rejected Gustave when she learned of this slightly irregular arrangement. In his will, Caillebotte left “the little house that I own in Petit Gennevilliers” to Charlotte, along with a sizeable annuity
[26] At that time, there had only been formal museum acquisitions of two paintings associated with Impressionism
[27] John P Walsh, The “tricky business” of the Caillebotte Bequest, https://johnpwalshblog.com/2013/04/12/the-tricky-business-of-the-caillebotte-bequest/
[28] See our article at https://www.artinsociety.com/strange-encounters-the-collector-the-artist-and-the-philosopher.html
[29] Renoir, op cit at 250
[30] Initiated by art historians such as Kirk Varnedoe: see note (2)
[31] Notably, by Samuel Raybone, in Gustave Caillebotte as Worker, Collector, Painter. Bloomsbury, 2019
© Philip McCouat, 2023. First published March 2023.
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[1] The name “Caillebotte” is pronounced like “Kieya-bot”, though it is frequently mispronounced as “Kalli-bot”
[2] Kirk Varnedoe, Gustave Caillebotte, Yale University Press, New Haven, 1987, at 88
[3] At the time of the painting, it was called the Carrefour de Moscou
[4] Gloria Groom and Kelly Keegan, “Paris Street; Rainy Day”, in Caillebotte: Paintings and Drawings at the Art Institute of Chicago, at 3
[5] The retractable style had just been newly invented: see Rose-Marie and Rainer Hagen, “Under the umbrella, loneliness”, in What Great Paintings Say, Vol 2, Taschen, London, 2003, at 405. Recent conservation and cleaning reveals that the canopies of the umbrellas actually have lavender tones: Groom, op cit at 9
[6] Groom, op cit at 9
[7] Before the recent conservation of the painting, these people were generally interpreted as a couple walking together: Groom, op cit
[8] Hagen, op cit at 404
[9] Julia Sagraves, cited in Michael Fried, “Caillebotte’s Impressionism”, Representations, No 66 (Spring 1999) at 26
[10] See also Fried, op cit at 26ff
[11] Cited in Hagen, op cit at 402
[12] Cited in Groom, op cit at 2
[13] Groom, op cit
[14] Varnedoe, op cit at 88
[15] See our article at https://www.artinsociety.com/pt-3-photographic-effects.html
[16] Groom, op cit at 1
[17] Groom suggests, on the basis of physical evidence, that Caillebotte may have used a camera lucida as an aid to composition in the painting (op cit at 6,7; see also Kirk Varnedoe, op cit at 20ff, 187
[18] Groom, op cit at 10
[19] Fried, op cit at 2
[20] Kirk Varnedoe, “Odd Man In”, in Ann Distel et al, Gustave Caillebotte: Urban Impressionist, Abbeville Press, New York, 1995, at 13
[21] Sue Roe, The Private Lives of the Impressionists, Chatto and Windus, London, 2006, at 145
[22] Samuel Raybone, “Gustave Caillebotte’s Interiors: Working Between Leisure and Labor”, November 2018, https://nonsite.org/article/gustave-caillebottes-interiors. For more on Caillebotte’s sailing-related activities see Daniel Charles, “Caillebotte and Boating,” in Gustave Caillebotte, Anne-Birgitte Fonsmark et al., exh. cat. Copenhagen: Ordrupgaard; Ostfildern: Hatje Cantz, 2008
[23] Raybone, op cit; for more on Caillebotte’s philatelic career, see R. D. Beech, “Note on Caillebotte as a Philatelist,” in Anne Distel, op cit at 206
[24] Anne Foster, “Caillebotte in his Garden”, La Gazette Drouot, May 2019 https://www.gazette-drouot.com/en/article/caillebotte-in-his-garden/6931; Distel, op cit at 22
[25] Charlotte was regarded as his wife by the Renoirs and presumably others (Jean Renoir, Renoir my Father (English translation), Fontana, London, 1965 at 250), though Martial’s wife Marie rejected Gustave when she learned of this slightly irregular arrangement. In his will, Caillebotte left “the little house that I own in Petit Gennevilliers” to Charlotte, along with a sizeable annuity
[26] At that time, there had only been formal museum acquisitions of two paintings associated with Impressionism
[27] John P Walsh, The “tricky business” of the Caillebotte Bequest, https://johnpwalshblog.com/2013/04/12/the-tricky-business-of-the-caillebotte-bequest/
[28] See our article at https://www.artinsociety.com/strange-encounters-the-collector-the-artist-and-the-philosopher.html
[29] Renoir, op cit at 250
[30] Initiated by art historians such as Kirk Varnedoe: see note (2)
[31] Notably, by Samuel Raybone, in Gustave Caillebotte as Worker, Collector, Painter. Bloomsbury, 2019
© Philip McCouat, 2023. First published March 2023.
Return to HOME