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Preparatory sketches

Preparatory sketches for Paris Street Rainy Night by Gustave Caillebotte are a collection of drawings by the artist. The painting was created in 1877, and is the most famous work by this Impressionist artist. It measures 212.2 x 276.2 centimeters. It is owned by the Art Institute of Chicago. This work was first shown in an exhibition in 1877.

This painting has been classified as an Impressionist in name only. Although Caillebotte followed the Impressionist method of painting, he knew enough to paint more seriously. In fact, his early works are based on an academic method. This means that his paintings may lack details, which are crucial for a realistic result. Still, the painting is a good example of Impressionism.

The painting’s detailed preparatory sketches were made to help the artist achieve a more accurate representation of the scene he wanted to paint. Caillebotte may have used photographs to make his study drawings, which were transferred to the large canvas. The result was a work of art that is almost as good as the original painting.

The Location of the Painting

The dominating structure in Paris Street; Rainy Day is the Place de Dublin building presented from the eastern side of the Rue de Turin. It was a newly built Parisian district (this area started developing at that time as a residential center for the sprawling bourgeoisie), part of the grandiose urban renovation project which happened between 1809 and 1891, led by Baron Haussmann. This also indicates how novel this painting was at the time, since it showed an entirely new image of a modern city.

Three roads are included in the image (the northern side of the square): the rue de Moscou (left), the rue Clapeyron (center), and the rue de Turin (right). The rue de Saint-Pétersbourg crosses the square and that is suggested by the line of the buildings to the left and a break in the buildings to the right. The curiosity is that the painting features ‘pharmacie’ sign on the ground floor of the building between the Rue de Moscou and the Rue Clapeyron, where a pharmacy can still be found today.

Place de Dublin, Paris, May 2010

Описание

Это полотно отличается сдержанными тонами, неброскими цветами и особым вниманием к деталям. Это очень реалистичная картина, в частности, благодаря отражениям дождя на тротуаре и мощеных камнях

Слева от картины взгляд зрителя направлен вдаль, на здания на заднем плане, а справа и на переднем плане взгляд обращен на персонажей, чьи лица и наряды чрезвычайно ухожены.

На этой картине Гюстава Кайботта изображена прогулка в дождливую погоду буржуазных и богатых людей, одетых в темные цвета (как мужчин, так и женщин), держащих черные зонтики по мощеным улицам Парижа сразу после крупных работ, предпринятых бароном Османом . Он выделяет пару на переднем плане (справа) перед фонарным столбом; этот стиль отличается от стиля художников его времени, которые обычно предпочитают симметрию и полное представление персонажей. Его точка зрения находится на нынешнем месте Дублина с перспективой на улицу Москвы (слева), улицу Клапейрон (в центре) и улицу Турина (справа); Рю де Сен-Petersbourg не виден (на крайний справа) , но предложил.

Приложения

Избранная библиография

В хронологическом порядке :

• Глория Грум, Импрессионизм и мода , кот. эксп., Музей Орсе / Скира Фламмарион, 2012, стр. 298, кат. 35.
• Эрик Даррагон , «Гюстав Кайботт, новая картина» , в Серж Лемуан и др., В интимной близости братьев Кайботт: Художник и фотограф , кот. эксп., изд. Flammarion / Culturspaces / Национальный музей изящных искусств Квебека / Музей Жакемара -Андре , Institut de France, 2011, стр. 36, рис. 1; 37; 64.
• Мари Берхо , Гюстав Кайботт. Каталог резоне живописи и пастели , Париж, изд. Библиотека искусств, 1994
• Эрик Даррагон , Кайботт , сб. Все искусство, под ред. Фламмарион, 1994, стр.  59, 60–61 (ил.), 62, 131, 147.
• Жером Куаньяр, «Кайботты: Le блюз де бульвары» , в изящных искусствах , п о  126,Сентябрь 1994 г., крышка (деталь); стр. 3 (ил.), 58–59 (деталь), 64, 68.
• (ru) Кирк Т. Варнедо и Томас П. Ли, Гюстав Кайботт: ретроспективная выставка , при участии Кирка Т. Варнедо, Мари Берхо , Питера Галасси и Хилари Фаберман, кот. опыт Музей изящных искусств , Хьюстон, 1976, стр. 23, кат. 25 (ил.); 74; 106; 108; 110–13, кат. 25 (ил.); 116; 119; 122; 129; 133; 210–11; 212–13; 214–16
• Рене Уиг , Меняющаяся реальность: Французская живопись в с XIX — го  века; Импрессионизм, символизм , изд. Фламмарион, 1974, стр. 154, п о  133 (рис.).
• (In) Джон Максон, «Некоторые недавние приобретения» , в Apollo 84 , n o  55 (Сентябрь 1966 г.), крышка (деталь); стр. 171, 216.
• Анри Perruchot , «Scandale а.е. Люксембург» , в L’законотворчества , п о  9 (Сентябрь 1955 г.), стр.  16–17 (ил.).

It depicts an intersection in the northern part of Paris

The painting depicts a busy city intersection known today as the “Place du Dublin.” Back then, the square in which 7 different streets meet was called the “Place du Moscou.”

This city square can be found just north of the Gare Saint-Lazare, one of the six major termini stations in the city.

The painting depicts the scene looking north toward the Place du Dublin. The Neoclassical buildings in the painting were only recently constructed at the time.

Shortly before this painting was completed, this area would have been nothing more than a hill just outside of the city center. The façades of these buildings must have been quite astonishing at the time.

The central block of buildings housed a pharmacy on the ground floor, and as you can see, it still serves this purpose today.

Place du Dublin in Paris / Rodney / Wiki Commons

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Карнавал

Культура экспонирования самих себя и собственной элегантности в открытом городском пространстве была, конечно, по преимуществу культурой высших сословий. У простонародья были свои способы уличного времяпрепровождения: раз в год, во время карнавала, по улицам Парижа расхаживали толпы в карнавальных костюмах, водили огромного быка, которому давали какое-нибудь прозвище, заимствованное из модного романа (был, например, год, когда этого «жирного быка» звали Монте-Кристо).

В этих карнавальных забавах происходил такой любопытный феномен, как «опрощение» (разумеется, не внутреннее, а внешнее, на уровне костюма) представителей высших сословий. В конце 1830-х годов для этого был изобретен специальный костюм — по-французски débardeur. В первом значении это просто одежда грузчика, перетаскивавшего товары с плотов на берег: широкие панталоны и заправленная в них блуза. Но костюм этот оказался очень удобен для карнавала, причем это карнавальное время было единственным, когда панталоны имели право надевать на себя и дамы. В 1840 году замечательный рисовальщик Гаварни выпустил целую серию литографий под общим названием «Les Débardeurs», и этот костюм вошел в моду.

Литография Поля Гаварни из серии «Les Débardeurs». 1840 год — Так ты, значит, тоже тут! Так-то у тебя голова болит? — А ты меня, значит, караулишь? Wikimedia Commons

Примечания

1. ↑ 12 [https://www.artic.edu/aic/collections/artwork/20684 Gustave Caillebotte — Paris Street; Rainy Day, 1877] (HTML). Институт искусств (Чикаго). Проверено 29 мая 2012. [https://www.webcitation.org/6AszEgeXh Архивировано из первоисточника 23 сентября 2012].
2. И. Г. Мосин. Мировое искусство — Импрессионизм (иллюстрированная энциклопедия). — Москва / Санкт-Петербург: Оникс / СЗКЭО Кристалл, 2006. — 176 с. — ISBN 5-9603-0048-6.
3. [https://dic.academic.ru/dic.nsf/enc_pictures/2672/%D0%9A%D0%B0%D0%B9%D0%B1%D0%BE%D1%82%D1%82 Кайботт Гюстав] (HTML). «Популярная художественная энциклопедия», под ред. В.М. Полевого, Москва, Издательство «Советская энциклопедия», 1986, ISBN 0-300-03722-8. Проверено 29 мая 2012. [https://www.webcitation.org/6AszFWgT8 Архивировано из первоисточника 23 сентября 2012].
4. ↑ 12Kirk Varnedoe. Gustave Caillebotte. — New Haven: Yale University Press, 1987. — 220 с. — ISBN 0-300-08279-7.
5. Alice C. Chen. [https://www.chicagomag.com/Chicago-Magazine/April-2007/The-Annotated-Paris-Street-Rainy-Day/ The Annotated: Paris Street; Rainy Day] (HTML). Chicago Magazine — chicagomag.com (апрель 2007). Проверено 29 мая 2012. [https://www.webcitation.org/6AszGcnBq Архивировано из первоисточника 23 сентября 2012].
6. Sally Ruth May. [https://www.artic.edu/aic/collections/citi/resources/Rsrc_001515.pdf Gustave Caillebotte and the City in Art] (PDF). Институт искусств (Чикаго) (1994). Проверено 29 мая 2012. [https://www.webcitation.org/6AszHGd4g Архивировано из первоисточника 23 сентября 2012].

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Gustave Caillebotte

Gustave Caillebotte, “Self-portrait,” ca. 1892 (Photo: Wikimedia Commons Public Domain)

In 1848, French painter Gustave Caillebotte was born in Paris. While he dabbled in art as a child, Caillebotte spent his young adulthood studying law, working as an engineer, and fighting in the Franco-Prussian War. In 1873, however, he entered the École des Beaux-Arts (“School of Fine Arts”), and the following year, he befriended members of the Société Anonyme Coopérative 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.

Gustave Caillebotte, “The Floor Scrapers,” 1875 (Photo: Wikimedia Commons Public Domain)

In 1874, this group of artists held their first of eight independent exhibitions. Intended to offer forward-thinking creatives an alternative to the salons of the Académie des Beaux-Arts (“Academy of Fine Arts”), this new tradition appealed to Caillebotte. While he attended the Impressionists’ inaugural exhibition as a viewer, he was invited to show his work—including his famous Les raboteurs de parquet, or The Floor Scrapers, which had been rejected by the Salon—in the second edition, held in 1876.

Caillebotte’s participation in the exhibition was met with positive reviews. Along with the friendships he had established with artists like Edgar Degas and Pierre-Auguste Renoir, this prompted him to continue working with the Impressionists. In 1877, he again exhibited his work in their annual exhibition, with Paris Street; Rainy Day among its most celebrated highlights.

The Painting Today

Photo: Wikimedia Commons (CC BY 2.0)

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.

Nearly 65 years later, Paris Street; Rainy Day remains a highlight of the museum’s collection. Like other important works housed by the Art Institute of Chicago—including A Sunday Afternoon on the Island of La Grande Jatte, Nighthawks, and American Gothic—this seminal painting proves that any subject can inspire a masterpiece.

Paris Street; Rainy Day

Gustave Caillebotte, “Paris Street; Rainy Day,” 1877 (Photo: The Art Institute of Chicago Public Domain)

Paris Street; Rainy Day shows a typical Parisian intersection on a particularly drizzly day. Specifically, it is set in the Carrefour de Moscou (known today as the Place de Dublin) in the city’s 8th arrondissement, or “district.” Though the scene looks like a snapshot, the composition was perfectly planned. Haussmann buildings—which, by 1877, had popped up all across Paris as part of Baron Haussmann’s major modernization project—recede into the background; reflective, rain-soaked cobblestone streets compose the foreground; and streams of umbrella-covered figures cascade across the canvas.

While this choice of scenery may not seem revolutionary today, it is one of Impressionism’s major contributions to modern art. 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. This divergence, however, does not mean that Impressionists weren’t inspired by other movements. In fact, Caillebotte was profoundly influenced by photography, an art form practiced by his brother, Martial.

Martial Caillebotte, Gustave Caillebotte and Bergère on the Place du Carrousel, 1892 (Photo: Wikimedia Commons

At the onset of Impressionism, photography was a new and pioneering practice. Interested in exploring the artistic capabilities of this budding technology, many Impressionists—namely, Degas, one of Caillebotte’s closest friends—often cropped their compositions as if they were candid photographs. This approach resulted in asymmetrical compositions with subject matter seemingly spilling off the canvas.

Caillebotte employed this technique in many of his paintings, including Paris Street; Rainy Day. It is primarily evident in the way in which the artist placed his subjects within the composition—especially the figure on the far right of the painting, who, with half of his body outside of the frame, appears to be walking into a snapshot. Similarly, some of the figures in the background are obstructed—not by the edge of the canvas, however, but by passersby, umbrellas, and even a horse.

Deliberate cropping is not the only photographic sensibility evident in Paris Street; Rainy Day. Caillebotte also sought to evoke the way in which a camera focuses on certain objects—namely, blurred in the background, mostly clear in the foreground, and crisp in the middle. 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.

It inspired an American artist who painted a similar scene in Boston

The respect for Caillebotte’s work didn’t just come from contemporary art critics, his work was also admired by fellow artists.

One of these was an American artist named Frederick Childe Hassam (1859-1934), one of the American Impressionists who brought this artistic style to the United States.

Less than a decade after the French artist completed one of his ultimate masterpieces, Childe Hassam completed a work titled “Rainy Day, Boston” (1885).

It’s easy to see the striking resemblance between the two paintings as it depicts a similar rainy scene in Boston.

Rainy Day, Boston by Childe Hasam / Wiki Commons

Paris Street Rainy Day Analysis

The large oil painting “Paris Street; Rainy Day” by Gustave Caillebotte is the best-known work by the French artist. It depicts the Place de Dublin, also known as the Carrefour de Moscou, which is located east of the Gare Saint-Lazare in north Paris. During the 1870s, this area was home to many ethnic groups. Caillebotte captured the diversity of this neighborhood in this piece.

Emile Zola, a famous French writer, often criticized Caillebotte’s work but praised Rainy Day in an 1877 article. The painting was also featured in the 1986 film “Ferris Bueller’s Day Off.”

The composition of the painting is a masterful exercise in capturing the mood and atmosphere of the day. The artist created an almost surreal ambiance by employing gaslight to separate the foreground and background. Gaslight, coupled with reflections of water on the cobblestones, created a distinct sense of depth. The overall effect of the painting reflects the changes that the middle class had experienced during the nineteenth century.

Paris Street; Rainy Day by Gustave Caillebotti illustrates the beauty of everyday life in the city. This painting was exhibited at the Third Impressionist Exhibition in 1877. The artist’s interest in photography led him to depict a typical Parisian street. Although this isn’t typical for an Impressionist work, Caillebotte’s painting exemplifies the modern art movement and its movement away from Academic traditions.

Описание

Деталь

Тон света указывает на то, что картина установлена ​​в зимний полдень, и две основные фигуры ходят под зонтиком. Они одеты по пикам современной парижской моды. На ней шляпа, вуаль, серьга с бриллиантами, скромное коричневое платье и пальто с меховой подкладкой, которое в 1877 году описывалось как «современное — или, лучше сказать, последняя мода». Мужчина носит усы, верхнее покрытие, сюртук, цилиндр, галстук-бабочка, накрахмаленная белая рубашка, жилет на пуговицах и открытое длинное пальто с поднятым воротником. Это однозначно средний класс. Некоторые фигуры рабочего класса можно увидеть на заднем плане; горничная в дверном проеме, декоратор несет лестницу, отрезанную зонтом над ним. Кайботт в игривой манере сочетает фигуры и перспективу: один мужчина прыгает с колеса экипажа; другая пара ног появляется под ободком зонтика.

Изучать Парижская улица; Дождливый день

Картина не создает праздничного настроения. Фигуры кажутся в основном изолированными, и их выражение лица в основном уныло. Кажется, что они скорее спешат, чем прогуливаются по улицам, погруженные в свои мысли. Зонтики защищают их, по словам Роз-Мари Хаген, «не только от дождя, но, похоже, и от других прохожих». Характерное для фигур расположение фигур — головы и глаза главной пары обращены в противоположную сторону от мужчины, приближающегося к ним справа. Хаген считает, что, учитывая их близкое окружение, они оба не смогут комфортно уйти с дороги мужчины, но их отведенный взгляд в равной степени относится и к зрителю, который смотрит с такой же точки зрения, как и мы. Кайботт воспроизводит эффект объектива фотоаппарата: точки в центре изображения кажутся выпуклыми. Он также воссоздает эффект фокусировки камеры таким образом, что она увеличивает резкость определенных объектов изображения, но не других. Та же цель видна в общей четкости изображения. Передний план в фокусе, но слегка размазан; средний план имеет резкие, четкие края и четко очерченные объекты, а фон исчезает вдалеке, становясь все более и более размытым по мере удаления глаза назад. Он делает среднюю часть более четкой, имитируя эффект камеры.

Фигуры, кажется, вошли в картину, как если бы Кайботт делал снимок людей, ведущих свой день; фактически, он месяцами тщательно помещал их в графическое пространство

Картина очень линейна; его фокус привлекает внимание зрителя к точке обзора в центре зданий на заднем плане. Сильная вертикаль центрального зеленого фонарного столба разделяет картину; горизонтальное выравнивание разбивает картину на четверти; Газовый свет в центре картины отбрасывает тени на мокрые булыжники и разделяет композицию на две части

Булыжник занимает целую четверть холста.

The painting was well-received at the third exhibition of Impressionists

Although Caillebotte visited the first Impressionist Exhibition in 1874, he didn’t yet participate in it.

He did, however, submit 8 paintings for the second exhibition in 1876, something that stresses his enthusiasm after his initial visit.

Among these works was one of his ultimate masterpieces called “Les Raboteurs de Parquet” (1875) or “The Floor Scrapers.”

This painting was rejected for the Paris Salon but received a lot of praise from critics when it was exhibited with the Impressionists. It’s now part of the collection of the Musée d’Orsay in Paris.

Paris Street, Rainy Day was exhibited at the third Impressionist exhibition in 1877 and received an equal amount of praise.

The Floor Scrapers by Gustave Caillebotte / Wiki Commons

The painting was completed in the late 1870s

Gustave Caillebotte was born in an upper)class family in Paris and he spent his entire life in and around the city.

Although he was interested in the world of art from a young age, he never really picked up his brushes until after the Franco-Prussian War in which he served between July 1870 and March 1871.

Shortly before the war, he had earned a law degree and was qualified to practice law the moment the war broke out.

He briefly entered the École des Beaux-Arts but mostly spent his time hanging out with the emerging Impressionists.

He completed this painting in 1877, a period in history in which this group of artists was already started exhibiting their Impressionist paintings.

Full view of the painting / Wiki Commons

Multiple elements indicate the artist’s interest in photography

Gustave Caillebotte befriended several Impressionist artists during the 1870s, most notably Edgar Degas (1834-1917).

He visited the first exhibition of Impressionists in 1874 but didn’t participate just yet. It did, however, inspire him so much that he fully focused on pursuing a career in art.

Unlike the Impressionists who often used wild brushstrokes and who loved to paint outdoors, Caillebotte had a more realistic approach to his art.

This is because he was influenced by photography, a medium that was still pretty much in its infancy at the time.

The way this approach is reflected in Paris Street, Rainy Day is as follows:

• The figures in the foreground appear to be out of focus.
• The Figures in the central part are much clearer visible than the ones in the background.
• Some figures appear to be cropped into the scene such as the man on the right.

Because of this approach, his paintings are much more aligned with the paintings of Gustave Courbet and Jean-François Millet, artists who only painted what they could see.

Self-portrait of Gustave Caillebotte / Wiki Commons

The Paris Street; Rainy Day Scene

At the forefront of the Paris Street; Rainy Day painting by Caillebotte are two figures dressed according to the latest Parisian vogue worn by the bourgeoisie – the woman wears a hat, veil, diamond earrings, and a sophisticated brown dress, and a fur-lined coat, while the man is a proper gentleman in a topcoat, top hat, bow tie, starched white shirt, buttoned waistcoat and an open long coat with collar turned up, and with an inevitable mustaches. The remaining characters in the background are working-class: a maid in a doorway, and the decorator carrying a ladder, while the majority of the figures are holding umbrellas.

Caillebotte took into account the class differences between the 19th century Parisians and presented them in a playful manner of an everyday city scene. It seems that this class aspect was so important to the painter, as a cold and distanced atmosphere, even ghoulish to a certain extent.  The expressions of the protagonists seem dim, and they are in a hurry. The cold weather and the rain (as suggested by the title) largely contribute to the feeling of alienation and remorse.

It can be said that the painting is photo-realistic, which is related to Caillebotte’s apparent interest in photography. The leading figures look like they are out of focus, while those in the mid-distance (the carriage and the pedestrians in the intersection) are rather sharp; the features in the background become gradually unclear too. In addition to the influence of photography is the cropping of certain figures. Caillebotte reproduces the effect of a camera lens in that the points at the center of the image seem to bulge. The focusing effect of the camera is recreated so that certain subjects are sharpened but not others. The same principle was used for achieving the overall clarity of the composition. What is indeed interesting is that the figures appear as if they just entered the painting, as if the painter took a snapshot of people passing by (in reality, Caillebotte probably spent months carefully observing and planning the composition).

История

Расположение картины в музее

Впервые эта картина была выставлена на 3-й выставке импрессионистов в апреле 1877 года, вместе с другими картинами Кайботта, среди которых, в частности, были «Мост Европы» и «Маляры фасадов».

После смерти Гюстава Кайботта в 1894 году она перешла к его брату Марсиалю (Martial Caillebotte

) и затем оставалась у родственников художника и их потомков в течение 60 лет. В 1954 году картина была продана американскому промышленнику Уолтеру Перси Крайслеру, основателю автомобильной корпорации Chrysler, а в 1964 году была приобретена Чикагским институтом искусств, где и находится до сих пор, в коллекции европейской живописи и скульптуры.

The Significance of Paris Street; Rainy Day

Shortly after the painting was publicly exhibited at the Third Impressionist Exhibition of 1877 for the first time, the writer and avid follower of the Impressionists Émile Zola saluted the Paris Street; Rainy Day (although he was not a great fan of Caillebotte’s work) in an article «Notes parisiennes: Une exposition: les peintres impressionnistes» published in Le Sémaphore de Marseille that same year.

Many of Caillebotte’s paintings remained in the family after his death in 1894 along with Paris Street; Rainy Day until it was acquired by Walter P. Chrysler Jr. in 1955, who then sold it in 1964 to the Art Institute of Chicago where is still held in the collection. Gloria Groom, the AIC curator, described it as the great picture of urban life in the late 19th century.

Paris Street; Rainy Day still is a captivating and powerful artwork which reflect the artist’s great skillfulness, but the conceptual innovation as well. Due to the fact it does represent an urban scene which reveals an array of social implications regarding class and urbanization the painting can be interpreted as an engaged one; an image which articulates modernity with prevailing ambiguity while depicting it in the simplest possible manner.

  Editors’ Tip: Gustave Caillebotte: The Painter’s Eye

The book features fifty of Caillebotte’s strongest paintings, including post-conservation images of Paris Street; Rainy Day (Art Institute of Chicago), along with The Floorscrapers and Pont de l’Europe, all of which date from a particularly fertile period between 1875 and 1882. The artist was criticized at the time for being too realistic and not impressionistic enough, but he was a pioneer in adopting the angled perspective of a modern camera to compose his scenes. Caillebotte’s skill and originality are evident even in the book’s reproductions, and the essays offer critical insights into his inspiration and subjects.

Featured image: Gustave Caillebotte — Paris Street; Rainy Day, 1877. 212.2 × 276.2 centimeters (83.5 × 108.7 in), Art Institute of Chicago. All images creative commons.

Описание

То же самое место, 2011 год

На картине изображена площадь Дублина (фр. Place de Dublin

) со стороны улицы Турина (фр.Rue de Turin ), вблизи её пересечения с улицей Москвы (фр.Rue de Moscou ) — это место находится немного к северу от парижского вокзала Сен-Лазар. В то время это были новые кварталы быстро развивавшегося города.

Интересна композиция картины и изображение перспективы. Столб газового фонаря и воображаемая линия горизонта делят картину на четыре квадранта. В правой части на переднем плане находится пара хорошо одетых людей, мужчина и женщина. Нижняя часть их ног обрезана, что подчёркивает их движение к зрителю. Кажется, что все люди, изображённые на среднем и заднем плане, движутся в разных направлениях и не смотрят друг на друга. Этим подчёркивается безличность и анонимность отдельных людей на новых широких бульварах города. Эффект перспективы достигается тем, что размер фигур на заднем плане с расстоянием уменьшается гораздо быстрее, чем в реальности.

Шопинг в бутиках и моллах

Шопинг – универсальное средство от плохой погоды, будь то летний зной или проливной дождь. Винтажные бутики, небольшие шоурумы, громкие марки или обычные торговые центры – Париж приготовил множество вариантов, чтобы вы не скучали.

Вы удивитесь, но объединять группу магазинов в один торговый центр придумали именно в Париже. В начале 19-го века над обычной торговой улицей смонтировали стеклянную крышу – так появились пассажи, первые ТЦ.

Обязательно прогуляйтесь по парижским пассажам. Даже самый сильный дождь не помешает вам переходить из одного магазинчика в другой. Сувенирные, книжные, антикварные или с изделиями ручной работы, чего тут только нет. Самые интересные пассажи: Passage du Havre, passage des Panoramas, passage Brady, passage Verdeau, passage du Caire, passage du Grand-Cerf, Passage des Princes, Passage Jouffroy и Passage Choiseul. Большая часть расположена во 2-м округе Парижа.

» ТАКЖЕ ЧИТАЙТЕ СТАТЬЮ — Шопинг в Париже: 10 лучших мест

Video transcript

(piano music playing) Beth: When Caillebotte,
Paris Street, Rainy Day was exhibited in 1877 at the
Impressionist Exhibition, one anonymous reviewer wrote, «Caillebotte is an
impressionist in name only. «He knows how to draw, «and paints more seriously
than his friends.» Steven: Well, you know, when
we think of impressionism, we think of the countryside, light-filled summer, loose brush work, and Caillebotte has given
us this complex image of the subtlety of light in
the city after a rainstorm. Beth: And without all of
that loose, open brushwork. This reviewer is saying
he knows how to draw. There is a sense of line, of contours, of forms that exist
three-dimensionally in space. That’s not what the
impressionists were doing in 1877. At that same exhibition, one could have seen Renoir’s
Moulin de la Galette. Steven: Which is full of light
and movement and open brushwork. Beth: Or, paintings by Monet
of the Gare Saint-Lazare, where Monet concentrated
on the effects of light through the steam in that railway station. Steven: In fact, so much so
that even the massiveness of the locomotive dissolved
within that atmosphere, but here Caillebotte has given
us a sense of massiveness. Look at the apartment
buildings in the background. Look at the cobblestones. These are solid forms. Beth: Right, nothing’s dissolving
into brushwork or light here. Steven: And yet this painting
is still all about light, but it’s about its reflectivity. It’s about shadow, and it’s
about the way that light can define forms in a far more solid way. Beth: Caillebotte is
painting modern Paris, wide boulevards that had
just recently been built, and the modern apartment houses that lined those boulevards. Steven: He’s also giving
us the middle class that then populated this city. Look at how fashionably-dressed the couple in the foreground are. Beth: Although, we do seem to have some different types of people. If we look closely, we
mostly see those fashionable, upper class or upper-middle class people, but behind the woman, to the right, just above her shoulder, we see someone who looks working class, and in the background, we see what looks like a
painter carrying a ladder. Steven: And, in fact, that was
really one of the definitions of the new modern city, was the way in which the lives
of people of different classes crossed on the streets. This is a painting that
really is about intersections. Beth: The rainy day, the
yellowish-gray of the sky capturing a specific moment. Look at the sense of the
reflectivity of the water between the cobblestones. Steven: This seems so spontaneous, as if this is this fragment
of time, this moment. Nobody seems to be posed. The main figures aren’t in the middle. Instead, the man on the
right is actually cut off! We only see half his body. This would have been an
aesthetic that would have failed, very much at odds with classical art, and perhaps even would have been seen as coming out of the new
vision of the photograph. Beth: These are all things
that would have felt very radical to an audience in 1877. Steven: And yet, although
we don’t notice it at first, the painting is really carefully balanced, and carefully composed. This is not a snapshot. If we look at the painting, it’s
divided into four quadrants. You’ve got that vertical division
in the middle of the canvas. Then, right at the level
of the woman’s mouth, moving across, and then at the bottom of the
apartment in the background. They’ve got a painting that
was divided into four areas, and there really is a sense
of stability and balance, even though it’s still asymmetrical, for all the seriousness of the
issues that we’re talking about, this is a really playful painting. For instance, look at the man who’s clearly in the middle ground, but seems to be hopping off the red wheels of that coach that we
see in the background. There are these playful juxtapositions that Caillebotte is very
intentionally placing in here that speaks to the way
in which the modern world has become a complex jumble, the way in which things come together in relationships that are unexpected. Beth: And fragmentary and ephemeral, and these were all things that
felt very modern in the 1870s. Steven: But he’s having fun with them. Look, for instance, at
the legs that are dangling from the umbrella held by the man
in the center of the painting. Beth: So Caillebotte continued
to paint urban themes, though he died rather young
when he was in his 40s, and he was independently wealthy, and so had no need to sell his paintings. Throughout his life, he collected
the work of his friends, of the impressionists, and amassed, actually, a
really remarkable collection that he left to the French state. His collection forms the
heart of the great works that we see today at the
Musée d’Orsay in Paris. (piano music playing)