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Gustave Caillebotte
Gustave Caillebotte (French: [ɡystav kɑjbɔt]; 19 August 1848 – 21 February 1894) was a French painter who was a member and patron of the Impressionists, although he painted in a more realistic manner than many others in the group. Caillebotte was known for his early interest in photography as an art form. Because of his family's wealth, he was able to serve as a patron of many of his fellow Impressionists. Upon his death, his bequeathed collection of their works became the central collection of Impressionism for the French Republic, despite considerable controversy.
His most well known work has been Paris Street; Rainy Day, known for qualities such as its mise-en-scène presentation. The Art Institute of Chicago acquired it in 1964, and his work soon drew more attention in the 1970s. Although he has long been regarded for his philanthropy and support as a patron and promoter of Impressionism, he did not have an international retrospective of his work until 100 years after his death in 1994. In 2022, when France successfully attained possession of Boating Party, known for its close-up action perspective, through a National treasure of France declaration process, they asserted that work's cultural significance and prominence with a celebrated display, followed by a national tour of the work and then an exhibition of Caillebotte's work that toured internationally.
Gustave Caillebotte was born on 19 August 1848 to an upper-class Parisian family living in the rue du Faubourg-Saint-Denis. His father, Martial Caillebotte (1799–1874), was the inheritor of the family's military textile business and was also a judge at the Tribunal de commerce de la Seine. Caillebotte's father was twice widowed before marrying Caillebotte's mother, Céleste Daufresne (1819–1878), who had two more sons after Gustave: René (1851–1876) and Martial (1853–1910).
Caillebotte earned a law degree in 1868 and a license to practice law in 1870, and he also was an engineer. Shortly after his education, he was drafted to fight in the Franco-Prussian War, and served from July 1870 to March 1871 in the Garde Nationale Mobile de la Seine.
Caillebotte began painting during his war service. After the war, Caillebotte began visiting the studio of the painter Léon Bonnat, where he began to study painting seriously. He then developed an accomplished style in a relatively short time and had his first studio in his parents' home. In 1873, Caillebotte entered the École des Beaux-Arts, but apparently did not spend much time there. In some of his early works he used mother and brothers as models. His artist's studio was built in the family home at his father's direction. He inherited his father's fortune upon his death in 1874 and the surviving sons divided the family fortune after their mother's death in 1878. Gustave and his brother sold the Yerres estate and moved into an apartment on the Boulevard Haussmann in Paris.[citation needed]
Around 1874, Caillebotte had met and befriended several artists working outside the Académie des Beaux-Arts, including Edgar Degas and Giuseppe de Nittis, and attended (but did not participate in) the First Impressionist Exhibition of 1874. The "Impressionists" – also called the "Independents", "Intransigents", and "Intentionalists" – had broken away from the academic painters showing in the annual Salons.
Caillebotte made his debut in the second Impressionist exhibition in 1876, showing eight paintings, including Les raboteurs de parquet (The Floor Scrapers, 1875), his earliest masterpiece. Its subject matter, the depiction of labourers preparing a wooden floor (thought to have been that of the artist's own studio) was considered "vulgar" by some critics, which is probably why the Salon of 1875 rejected it. At the time, the art establishment deemed only rustic peasants or farmers acceptable subjects to be portrayed from the working class. By the third Impressionist exhibition in 1877, he had assumed the leadership role for the events by securing rental space, selecting artists and works and hanging works. However, managing the wants and expectations of other aspiring artists was not without cost and his involvement eventually declined. In the end, he presented works in five of the eight impressionist exhibitions.
In common with his precursors Jean-François Millet and Gustave Courbet, as well his contemporary Degas, Caillebotte aimed to paint reality as it existed and as he saw it, hoping to reduce the inherent theatricality of painting. Perhaps because of his close relationship with so many of his peers, his style and technique vary considerably among his works, as if "borrowing" and experimenting, but not really sticking to any one style. At times, he seems very much in the Degas camp of rich-colored realism (especially his interior scenes); at other times, he shares the Impressionist commitment to "optical truth" and employs an impressionistic pastel-softness and loose brush strokes most similar to Renoir and Pissarro, although with a less vibrant palette.
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Gustave Caillebotte
Gustave Caillebotte (French: [ɡystav kɑjbɔt]; 19 August 1848 – 21 February 1894) was a French painter who was a member and patron of the Impressionists, although he painted in a more realistic manner than many others in the group. Caillebotte was known for his early interest in photography as an art form. Because of his family's wealth, he was able to serve as a patron of many of his fellow Impressionists. Upon his death, his bequeathed collection of their works became the central collection of Impressionism for the French Republic, despite considerable controversy.
His most well known work has been Paris Street; Rainy Day, known for qualities such as its mise-en-scène presentation. The Art Institute of Chicago acquired it in 1964, and his work soon drew more attention in the 1970s. Although he has long been regarded for his philanthropy and support as a patron and promoter of Impressionism, he did not have an international retrospective of his work until 100 years after his death in 1994. In 2022, when France successfully attained possession of Boating Party, known for its close-up action perspective, through a National treasure of France declaration process, they asserted that work's cultural significance and prominence with a celebrated display, followed by a national tour of the work and then an exhibition of Caillebotte's work that toured internationally.
Gustave Caillebotte was born on 19 August 1848 to an upper-class Parisian family living in the rue du Faubourg-Saint-Denis. His father, Martial Caillebotte (1799–1874), was the inheritor of the family's military textile business and was also a judge at the Tribunal de commerce de la Seine. Caillebotte's father was twice widowed before marrying Caillebotte's mother, Céleste Daufresne (1819–1878), who had two more sons after Gustave: René (1851–1876) and Martial (1853–1910).
Caillebotte earned a law degree in 1868 and a license to practice law in 1870, and he also was an engineer. Shortly after his education, he was drafted to fight in the Franco-Prussian War, and served from July 1870 to March 1871 in the Garde Nationale Mobile de la Seine.
Caillebotte began painting during his war service. After the war, Caillebotte began visiting the studio of the painter Léon Bonnat, where he began to study painting seriously. He then developed an accomplished style in a relatively short time and had his first studio in his parents' home. In 1873, Caillebotte entered the École des Beaux-Arts, but apparently did not spend much time there. In some of his early works he used mother and brothers as models. His artist's studio was built in the family home at his father's direction. He inherited his father's fortune upon his death in 1874 and the surviving sons divided the family fortune after their mother's death in 1878. Gustave and his brother sold the Yerres estate and moved into an apartment on the Boulevard Haussmann in Paris.[citation needed]
Around 1874, Caillebotte had met and befriended several artists working outside the Académie des Beaux-Arts, including Edgar Degas and Giuseppe de Nittis, and attended (but did not participate in) the First Impressionist Exhibition of 1874. The "Impressionists" – also called the "Independents", "Intransigents", and "Intentionalists" – had broken away from the academic painters showing in the annual Salons.
Caillebotte made his debut in the second Impressionist exhibition in 1876, showing eight paintings, including Les raboteurs de parquet (The Floor Scrapers, 1875), his earliest masterpiece. Its subject matter, the depiction of labourers preparing a wooden floor (thought to have been that of the artist's own studio) was considered "vulgar" by some critics, which is probably why the Salon of 1875 rejected it. At the time, the art establishment deemed only rustic peasants or farmers acceptable subjects to be portrayed from the working class. By the third Impressionist exhibition in 1877, he had assumed the leadership role for the events by securing rental space, selecting artists and works and hanging works. However, managing the wants and expectations of other aspiring artists was not without cost and his involvement eventually declined. In the end, he presented works in five of the eight impressionist exhibitions.
In common with his precursors Jean-François Millet and Gustave Courbet, as well his contemporary Degas, Caillebotte aimed to paint reality as it existed and as he saw it, hoping to reduce the inherent theatricality of painting. Perhaps because of his close relationship with so many of his peers, his style and technique vary considerably among his works, as if "borrowing" and experimenting, but not really sticking to any one style. At times, he seems very much in the Degas camp of rich-colored realism (especially his interior scenes); at other times, he shares the Impressionist commitment to "optical truth" and employs an impressionistic pastel-softness and loose brush strokes most similar to Renoir and Pissarro, although with a less vibrant palette.
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