Art Institute of ChicagoPublic domain

Study for Paris Street; Rainy Day

Gustave Caillebotte · 1877

Provenance

Ownership history

By descent from the artist (died 1894) to his family; given to Kirk Varnedoe (1946–2003), New York, 1976; by descent to his wife, Elyn Zimmerman, New York, 2003 [New York 2006 auction cat.]; sold through James Goodman Gallery, New York, to the Art Institute of Chicago, 2011.

Recorded by Art Institute of Chicago.

Exhibitions

Exhibition history

Museum of Fine Arts, Houston, "Gustave Caillebotte: A Retrospective Exhibition," 1976–1977, Oct. 22, 1976–Jan. 2, 1977, cat. D–14 (ill.); Brooklyn Museum, Feb. 12–Apr. 24, 1977.
Paris, Galeries Nationales du Grand Palais, "Gustave Caillebotte, 1848–1894," Sept. 16, 1994–Jan. 9, 1995, cat. 110 (ill.); Art Institute of Chicago, as Gustave Caillebotte: Urban Impressionist, Feb. 18–May 28, 1995, cat. 39 (ill.); Los Angeles County Museum of Art, June 22–Sept. 10, 1995.
Paris, Musée d’Orsay, "Manet, Monet: La gare Saint-Lazare," Feb. 9–May 17, 1998, cat. 6 (ill.); Washington, D.C., National Gallery of Art, as Manet, Monet, and the Gare Saint-Lazare, June 14–Sept. 20, 1998.
Williamstown, Mass., Williams College Museum of Art, "Jackson Pollock at Williams College: A Tribute to Kirk Varnedoe ’67," Apr. 14–Oct. 1, 2006, no cat.
Art Institute of Chicago, "Master Drawings Unveiled: 25 Years of Major Acquisitions," August 27, 2016–January 29, 2017, no cat.
Berlin, Germany, Alte Nationalgalerie, Berlin, "Caillebotte: Painter and Patron", May 16 - September 19, 2019.

Literature

Published references

Kirk Varnedoe, “In Detail: Gustave Caillebotte’s The Streets of Paris on a Rainy Day,” Portfolio 1, 5 (Dec. 1979–Jan. 1980), p. 42 (ill.).
Kirk Varnedoe, Gustave Caillebotte (Yale University Press, 1987), pp. 34; 35, fig. 3; 90, fig. 18d; 34–39.
Jean Chardeau, Les dessins de Caillebotte (Hermé, 1989), p. 65 (ill.).
Nicholas Wadley, Impressionist and Post-Impressionist Drawing (L. King, 1991), p. 160, fig. 39b.
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. 66; 265, fig. 22.
Christie’s, New York, Impressionist and Modern Works on Paper, sale cat. (Christie’s, New York, Nov. 9, 2006), pp. 24–25, lot 114 (ill.).29
Karin Sagner, Gustave Caillebotte: Neue Perspektiven des Impressionismus (Hirmer, 2009), pp. 12–13, fig. 8.
Kristin Schrader, “Depicting the Momentary through Movement,” in Gustave Caillebotte: An Impressionist and Photography, exh. cat. (Schirn Kunsthalle Frankfurt/Hirmer, 2012), p. 120, fig. 2.
Michael Marrinan, “Caillebotte’s Deep Focus,” in Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter’s Eye, with essays by Michael Marrinan, Alexandra K. Wettlaufer, Elizabeth Benjamin, Stéphane Guégan, and Sarah Kennel, exh. cat. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), p. 34, fig. 7.
“Cat. 1: Study for “Paris Street; Rainy Day”,” in Caillebotte Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Genevieve Westerby (Art Institute of Chicago, 2015). <a href="https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/574_anchor">https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/574_anchor</a>
Claude Ghez et al, "Le Pont de l'Europe et Rue de Paris, temps de pluie: entre ironie et dystopie," in Gustave Caillebotte 1848-1894: Impressioniste et moderne (Martigny: Fondation Pierre Granada, 2021), 83-91.

Comparables