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History of Paris Street: Rainy Day

  • Léon Mancino, “La Descente de la courtille,” L’Art 9 (April 1877), p. 68.

  • Period: to

    Paris, 6 rue Le Peletier, 3e exposition de peinture, April 1877

  • “Chronique,” Gazette de France (April 2, 1877), p. 2.

    “Chronique,” Gazette de France (April 2, 1877), p. 2.
  • Publication

    [Gaston Vassy], “La Journée à Paris: L’Exposition des impressionnalistes,” L’Evénement (April 6, 1877), p. 2.
  • Publication

    L. G., “Le Salon des ‘impressionnistes’,” La Presse (April 6, 1877), p. 2.
  • “L'Exposition des impressionnistes,” Le Temps (April 7, 1877).

  • Thomas Grimm, “Les Impressionnistes,” Le Petit Journal (April 7, 1877), p. 1.

  • A. P. [Alexandre Pothey], “Beaux-arts,” Le Petit Parisien (April 7, 1877), p. 2.

  • Paul Sébillot, “L’Exposition des impressionnistes,” Le Bien Public (April 7, 1877), p. 2.

  • [George Lafenestre], “Le Jour et la nuit,” Le Moniteur universel (April 8, 1877), p. 2 [reprinted in La Petite presse (April 9, 1877), p. 3; in The New Painting: Impressionism: Documentation (1996), p. 174, this review is attributed to Pierre Véron]

  • C. D. “L’Exposition des impressionnistes,” Le Petit Moniteur universel (April 8, 1877), p. 2.

  • E. Lepelletier, “Les Impressionnistes,” Le Radical (April 8, 1877), pp. 2-3.

  • Baron Schop, “Choses & autres,” Le National (April 8, 1877), pp. 2-3.

  • [George Lafenestre], “Le Jour et la nuit,” Le Moniteur universel (April 8, 1877), p. 2 [reprinted in La Petite presse (April 9, 1877), p. 3; in The New Painting: Impressionism: Documentation (1996), p. 174, this review is attributed to Pierre Véron]

  • Bertall, “Exposition des impressionnistes,” Paris-Journal (April 9, 1877), pp. 1-2.

  • “Exposition des Impressionnistes,” La Petite République française (April 10, 1877), p. 2.

  • Léon de Lora, “L’Exposition des Impressionnistes,” Le Gaulois (April 10, 1877), pp. 1-2.

  • Jacques, “Menu Propos: L’Exposition impressionniste,” L’Homme Libre (April 12, 1877), p. 2.

  • Georges Rivière, “L’Exposition des impressionnistes,” L’Impressionniste (April 14, 1877), pp. 1-4, 6.

  • Roger Ballu, “L’exposition des peintres impressionnistes,” Chronique des arts et de la curiosité (April 14, 1877), pp. 147-48 [article reprinted in Les Beaux-Arts illustrés (April 23, 1877), p. 392].

  • Émile Zola, “Noted parisiennes: Une exposition: les peintres impressionnistes,” Le Sémaphore de Marseille (April 19, 1877), p. 1.

  • Ernest Fillonneau, “Les Impressionnistes,” Moniteur des arts (April 20, 1877), p. 1.

  • A. Descubes, “L’Exposition des impressionnistes,” Gazette des letters, des sciences et des arts 1, 12 (April 20, 1877), pp. 185-188.

  • Paul Mantz, “L’Exposition des peintres impressionnistes,” Le Temps (April 22, 1877), p. 3.

  • Roger Ballu, “L’exposition des peintres impressionnistes,” Chronique des arts et de la curiosité (April 14, 1877), pp. 147-48 [article reprinted in Les Beaux-Arts illustrés (April 23, 1877), p. 392].

  • Ph. B. [Philippe Burty], “Exposition des impressionnistes,” La République Française (April 25, 1877).

  • Charles Bigot, “Causerie artistique: L’Exposition des ‘impressionnistes’,” La Revue Politique et Littéraire (April 28, 1877), pp. 1045-48.

  • Ph. M., “Arts: Les Impressionnistes,” Revue des idées nouvelles, Année 1877 no. 11 (May 1, 1877), p. 167.

  • Georges Rivière, “Les Intransigeants et les impressionnistes: souvenir du Salon libre de 1877,” L’Artiste (November 1, 1877), pp. 298-302.

  • Frédéric Chevalier, “Les Impressionnistes,” L’Artiste (May 1, 1877), pp. 329-333.

  • Period: to

    Ownership

    By descent to the artist's brother, Martial Caillebotte, 1894; placed with brother in law of Martial Caillebotte, Georges Minoret, Château de Montglat, Provins, 1900; transferred to Mme. Chardeau (née Genevieve Caillebotte), daughter of Martial Caillebotte, Paris, 1950
  • acques Crevalier, “À travers l’art: Caillebotte,” Le Soir (June 8, 1894).

  • Period: to

    Paris, Galeries Durand-Ruel, Exposition retrospectived'oeuvres de G. Caillebotte, June 1894, cat. 47.

  • Period: to

    Paris, Galerie Wildenstein, Exposition retrospectived'oeuvres de G. Caillebotte, 1951, cat. 13.

  • J. Bouret, “Un peintre de notre temps,” Art (May 25, 1951), p. 1 (ill.).

  • Fernand Hazan, ed., Dictionnaire de la peinture moderne (Paris, 1954), p. 43 (English edition, New York, 1955, p. 43).

    French Edition ***Only year given
  • Period: to

    Ownership

    sold to Walter P. Chrysler, Jr., New York, 1954 [according to Portland 1956 and Houston 1976-77; see also Berhaut 1978]. Wildenstein and Co., New York by 1964; sold to the Art Institute, 1964.
  • Fernand Hazan, ed., Dictionnaire de la peinture moderne (Paris, 1954), p. 43 (English edition, New York, 1955, p. 43).

  • Fernand Hazan, ed., Dictionnaire de la peinture moderne (Paris, 1954), p. 43 (English edition, New York, 1955, p. 43).

  • The Art Institute of Chicago Annual Report 1964-65 (Chicago, 1965), p. 29.

  • Period: to

    Portland Art Museum, Paintings From the Collection of Walter P. Chrysler, Jr, 1956, cat. 78, traveled to Seattle Art Museum; San Francisco, California Palace of the Legion of Honor; Los Angeles, LACMA; Minneapolis Institute of Arts; St. Louis, City Art Mu

  • Period: to

    Dayton Institute of the Arts, French Paintings 1789-1929: From the Collection of Walter P. Chrysler, Jr, March 25-May 22, 1960, cat. 56.

  • New York Times (April 10, 1960).

  • Period: to

    Ownership- Current

  • J. M. [John Maxon], “Place de l’Europe on a Rainy Day,” in The Art Institute of Chicago Calendar 59, 3 (May 1965), pp. 8-9 (ill.).

  • *******John Maxon, “Some Recent Acquisitions,” Apollo 84 (September 1966), pp. 171, 216, detail ill. on cover.

    **FRONT COVER
  • Marie Berhaut, Caillebote (Lausanne, 1968), p. 28, pl. 7.

    *Only year
  • *****Robert Rosenblum, “The 19th Century Franc Revalued,” Art News 68, 4 (Summer, 1969), ill., pp. 5, 60, detail ill. on front cover.

    **FRONT COVER
  • Period: to

    The Minneapolis Institute of Arts, The Past Rediscovered: French Painting 1800-1900, July 1-September 7, 1969, cat. 7 (ill.).

  • John Maxon, The Art Institute of Chicago (New York, 1970), pp. 95 (ill.), 278.

  • Linda Nochlin, Realism (Harmondsworth, 1971), pp. 168, 262, n. 103, fig. 103.

  • René Huyghe, La Relève du Réel Impressionnisme Symbolisme (Paris, 1974), p. 431, no. 133 (ill.).

  • G. Picon, Emile Zola, Le bon combat, de Courbet aux Impressionnistes (Paris, 1974), pp. 189, 240, n. 53.

  • Kirk Varnedoe, “Caillebotte’s Pont de l’Europe,” Art International, The Lugano Review (April 20, 1974), pp. 29, 41, 58, fig. 5.

  • Kirk Varnedoe, “Gustave Caillebotte in context,” Arts Magazine (May 1976), pp. 94-99.

  • Period: to

    Houston, The Museum of Fine Arts, Gustave Caillebotte: A Retrospective Exhibition, October 22, 1976-January 2, 1977, cat. 25 (ill.), traveled to Brooklyn Museum, February 12-April 24; shown in Houston only.

  • Period: to

    Houston, The Museum of Fine Arts, Gustave Caillebotte: A Retrospective Exhibition, October 22, 1976-January 2, 1977, cat. 25 (ill.), traveled to Brooklyn Museum, February 12-April 24; shown in Houston only.

  • Marie Berhaut, “Gustave Caillebotte et le réalisme impressionniste,” L’Oeil 268 (November 1977), p. 42 (ill.).

    *Only month and year given
  • *******Janice J. Feldstein, ed., The Art Institute of Chicago: 100 Masterpieces (Chicago, 1978), no. 53 (ill.).

  • Marie Berhaut, Caillebotte: sa vie et son œuvre: catalogue raisonné des peintures et pastels (Paris, 1978), no. 52 (ill.).

  • Kirk Varnedoe, “In Detail: Gustave Caillebotte’s The Streets of Paris on a Rainy Day,” Portfolio (December/January 1979-80), pp. 42-47, ill. on cover.

  • *****Kirk Varnedoe, “In Detail: Gustave Caillebotte’s The Streets of Paris on a Rainy Day,” Portfolio (December/January 1979-80), pp. 42-47, ill. on cover.

    ***COVER***
  • Diane Kelder, The Great Book of French Impressionism (New York, 1980), pp. 166, 169 (ill.).

  • Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55, 3 (November 1980), p. 170.

  • The Impressionist Tradition: Masterpieces From The Art Institute of Chicago exh. cat. (Tokyo, The Seibu Museum of Art, 1985), pp. 20-21 (ill.).

    ****Only year given
  • T. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and His Followers (New York, 1985), p. 15, fig. 5.

  • Ch. Georgel, Le Rue (Paris, 1986), pp. 74-75.

    **Only year given
  • Period: to

    Washington, D.C., National Gallery of Art, The New Painting: Impressionism 1874-1886, January 17-April 6, 1986, cat. 38 (ill.), traveled to Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum, April 19-July 6, 1986.

  • Mark Stevens, “When Impressionism Was New,” Newsweek (February 3, 1986), p. 71 (ill.).

  • Period: to

    Washington, D.C., National Gallery of Art, The New Painting: Impressionism 1874-1886, January 17-April 6, 1986, cat. 38 (ill.), traveled to Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum, April 19-July 6, 1986.

  • Period: to

    The Art Institute of Chicago, The Art of the Edge: European Frames 1300-1900, October 17-December 14, 1986, not included in catalogue.

  • Richard R. Brettell, French Impressionists (Chicago, 1987), pp. 44 (detail ill.), 45-47 (ill.), 117.

    **Only Year given
  • Kirk Varnedoe, Gustave Caillebotte (New Haven and London, 1987), pl. 18, pp. 2, 4, 11, 18, 20, 24, 25, 27, 28, 34-40, 80, 84, 88-95, 91, 93, 110, 176, 187-8, 189, 190, 191.

  • Michael Findlay, “The Caillebotte Bequest,” Auction News From Christie’s 8, 4 (February/March, 1987), ill.

  • Michael Findlay, “The Caillebotte Bequest,” Auction News From Christie’s 8, 4 (February/March, 1987), ill.

  • K. Adler, Unknown Impressionists (Oxford, 1988), pp. 8, 70-76, pl. 64.

    ** Only year given
  • Anthea Callen, Techniques of the Impressionists (London, 1988), pp. 93-95(ill.).

    **Only Year given
  • Robert L. Herbert, Impressionism: Art, Leisure and Parisian Society (New Haven, 1988), pp. 22-23, fig. 26 (ill.).

  • John Milner, The Studios of Paris: The Capital of Art In the Late Nineteenth Century (New Haven and London, 1988), pp. 163-164 (ill.).

    *** Only Year given
  • James N. Wood and Katharine C. Lee, eds., Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 58 (ill.).

    ** Only year given
  • Kirk Varnedoe, “Late Recognition for One of the Original Impressionists,” The Chronicle of Higher Education (February 3, 1988), p. B27 (ill.).

  • E. A., “Impressions of Caillebotte,” Connoisseur (April 1988), pp. 46, 48 (ill.).

    **Only month and year given
  • Jean Chardeau, Les Desssins de Caillebotte (Paris, 1989), p. 64 (ill.).

    **Only year given
  • Anne Distel, “Charles Deudon (1832-1914) collectionneur,” Revue de l’art 86 (1989), p. 61, n. 16.

    ** Only year given
  • ************David McCracken, “Picking Chicago’s Top Art Hits,” Chicago Tribune: A Weekly Guide (August 18-24, 1989).

    ********Range********
  • Norma Broude, World Impressionism: The International Movement, 1860-1920 (New York, 1990), pp. 19, 57, fig. 12.

  • Mary Ellen Jordan Haight, Paris Portraits Renoir to Chanel: Walks on the Right Bank (Salt Lake City, 1991), pp. 43-44, no. 29.

  • Richard Brettell and Joachim Pissarro, The Impressionist and the City: Pissarro’s Series Paintings exh. cat. (Dallas Museum of Art, 1992), p. xvii (ill.).

    *** Only year given
  • Marie Berhaut, Caillebotte: catalogue raisonné des peintures et pastels (Paris, 1994), no. 57 (ill.).

  • Jérôme Coignard, “Le Blues des grands boulevards: Caillebotte,” Beaux Arts Magazine 126 (September 1994), pp. 58-59 (ill.), 60-69, detail ill. on cover.

    **** Only Month and year given
  • Period: to

    Paris, Grand Palais, Gustave Caillebotte: Urban Impressionist, September 13, 1994-January 9, 1995, cat. 35 (ill.), traveled to The Art Institute of Chicago, February 18-May 28, 1995 and Los Angeles County Museum of Art, June 22-September 10, 1995.

  • Charles Storch, “Missing A Rainy Day in Paris,” Chicago Tribune (September 14, 1994).

  • Period: to

    Paris, Grand Palais, Gustave Caillebotte: Urban Impressionist, September 13, 1994-January 9, 1995, cat. 35 (ill.), traveled to The Art Institute of Chicago, February 18-May 28, 1995 and Los Angeles County Museum of Art, June 22-September 10, 1995.

  • Period: to

    Paris, Grand Palais, Gustave Caillebotte: Urban Impressionist, September 13, 1994-January 9, 1995, cat. 35 (ill.), traveled to The Art Institute of Chicago, February 18-May 28, 1995 and Los Angeles County Museum of Art, June 22-September 10, 1995.

  • Richard Brettell, “Gustave Caillebotte and ‘The New Painting”: A Centennial Review,” Apollo 142, 406 (New Series) (December 1995), p. 58.

  • [George Lafenestre], “Le Jour et la nuit,” Le Moniteur universel (April 8, 1877), p. 2 [reprinted in La Petite presse (April 9, 1877), p. 3; in The New Painting: Impressionism: Documentation (1996), p. 174, this review is attributed to Pierre Véron]

    *Exact date not given
  • Patrick Shaw Cable, “Questions of Work, Class, Gender and Style in the Art and Life of Gustave Caillebotte,” Ph. D. diss. (Case Western Reserve University, 2000), pp. 11, 28, 31, 66, 67, 146, 214, 244, fig. 1.

    *****Only year given
  • Die Eroberung der Strasse, ed. Karin Sagner, Mattias Ulrich, Vittorio Magnago Lampugnani, and Max Hollein, Exh. cat. (Hirmer Verlag Mümchen, 2006), ill. 88, p. 89, p. 293.

  • The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 18, pgs. 56, 57 (ill.).

  • Period: to

    Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 18 (ill.).

  • James H. Rubin, “Das Impressionistische Stadtbild als Emblem der Moderne,” Bilder einer Metropole Die Impressionisten in Paris, Exh. cat. (Folkwang and Steidl, 2010), p.75-77, ill. 127, cat. 11.

  • Period: to

    Essen, Germany, Museum Folkwang Essen, Images of a Capital: Paris in the Age of Imprssionism, October 2, 2010-January 30, 2011, cat. 11.

  • André Dombrowski, "History, Memory, and Instantaneity in Edgar Degas's Place de la Concorde," The Art Bulletin 93, 2 (June 2011), p. 199, (ill.).

  • Colin B. Bailey, “The Umbrellas (Les Parapluies),”Renoir, Impressionism, and Full-Length Painting. New Haven: Yale University Press and The Frick Collection, 2012. p. 150, p. 154, fig. 15.

    ***Only year given