Gustave Caillebotte

[ottenki_serogo]

Gustave Caillebotte was born on August 19, 1848 in Paris, in the family, which belonged to the upper strata of Parisian society. His father, Caillebotte (Fr. Martial Caillebotte) (1799-1874), inherited a textile production, he also served as a judge in Senskom Tribunal de Commerce. Caillebotte twice widowed before marrying the mother of Gustave, Celeste Defrene (born Céleste Daufresne, 1819-1878). In addition to Gustav, they had two more sons - Rene (1851-1876) and Martial (1853-1910).

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Caillebotte was born in the house in a Paris street Rue du Faubourg-Saint-Denis and lived there until 1866, until his father had built the house in the Rue de Miromesnil in Paris. Family Gustave spent the summer a lot of time in Hyères - a city on the river of the same name about 15 miles south of Paris, after, in 1860, Caillebotte bought a manor house. Around this time, Gustave began to paint. Many of Caillebotte's paintings depict members of his family and everyday life. On the canvas "The young man at the window" (1875) Rene captured in a house on the Rue de de Miromesnil, and the "orange trees" (1878) is depicted with Marcial cousin Zoe in their garden Hierro; on "Portrait in rural areas "(1875) shows Caillebotte's mother, his aunt, cousin and friend of the family.

Caillebotte completed his law degree in 1868 and received a license to practice in 1870 Shortly thereafter, he took part in the Franco-Prussian War. After the war, Caillebotte visited the studio of painter Léon Bonnat, where he studied painting seriously. In 1873, Caillebotte entered the school of fine arts, but, apparently, studied it seriously enough. At the same time, Caillebotte met and became acquainted with several artists who worked outside the official French academy, including Edgar Degas and Giuseppe de Nittis, and visited the first Impressionist exhibition in 1874 (but did not participate in it).
Gustave Caillebotte. Rainy day in Batinolskom quarter 1877. Art Institute of Chicago

After his father died in 1874 and mother in 1878, Gustave was a solid state, which enabled him to paint without worrying about selling their work. He also had the opportunity to participate in the financing of the Impressionist exhibitions and support his colleagues and fellow artists (including Claude Monet, Auguste Renoir, Camille Pissarro and others) by buying their work, as well - at least in the case of Monet -- paying rent studio. In addition, Caillebotte used his wealth to finance various hobbies, which he practiced with great enthusiasm, including stamp collecting (his collection is now in the British Museum), orchid cultivation, the construction of yachts, and even textile design (the women in his paintings " Madame Buasser with their knitting "(1877) and" Portrait of Madame Caillebotte "(1877) probably worked on designs created by Caillebotte).

Caillebotte, wrote in the style of realism. Like its predecessors, Jean-Francois Millet and Gustave Courbet, as well his contemporary Degas, Caillebotte wanted to depict reality as it really is and how he sees it, hoping thereby to reduce the inherent drama of painting. He also shared the Impressionists' commitment to the transfer of reality. Caillebotte, wrote a lot of family scenes, interiors and landscapes in Hierro, but the most famous of his paintings have become canvases on Paris, for example, "parquet" (1875), "Bridge of Europe" (1876) and "Rainy Day in Batinolskom quarter "(1877). These paintings aroused controversy because of their unpretentious, often very simple plot and exaggerated in-depth perspective. Sloping surface, common to these paintings, is characteristic of Caillebotte's art, which arose under the influence of Japanese graphics, and photos of the new technology.

Methods truncation and increase occurring in the works of Caillebotte, possibly the result of his interest in photography. Many papers Caillebotte uses a very high angle of view, such as the image on the balconies «Vue des toits, effet de neige» (1878) and «Boulevard vu d'en haut» (1880). In Caillebotte's painting career came a sharp decline in 1890. When he ceased to write large-format paintings and exhibit their work. In 1881 he purchased the property estate in Petit Gennevilliers, on the banks of the Seine near Arzhanteya and moved there to live in 1888, he devoted himself to gardening and construction of racing yachts, spent much time with my brother and friend Marcial Renoir, who often stayed at the Petit -Gennevilliers. As claimed by many sources, shortly before his death he was having an affair a woman much younger than him, Emily Schlauch, but that no formal evidence.

Caillebotte died February 21, 1894 while working in his garden at Petit Gennevilliers. He is buried at Pere Lachaise cemetery in Paris.
Parquet, 1875, Musée d'Orsay, Paris. Like Degas, Caillebotte strove for a realistic transfer dynamics of everyday life.

For a long time, Caillebotte's reputation as a patron was significantly higher than his reputation as an artist. Seventy years after his death, art historians began to reconsider his artistic legacy.

In his will, Caillebotte donated a large collection of paintings to the French government. This collection included sixty-eight paintings by various artists: Camille Pissarro (19), Claude Monet (14), Pierre-Auguste Renoir (10), Alfred Sisley (9), Edgar Degas (7), Paul Cézanne (5) and Edouard Manet ( 4).

At the time of death, Caillebotte's Impressionist still were not in favor with esteblishmenta from the art of France, where there is still dominated by representatives of the academic areas, especially the Academy of Fine Arts. Caillebotte understood that the masterpieces of its collection are likely to disappear in the "lofts" and "provincial museums". So he left the house his collection in the Luxembourg Palace, where the work of contemporary artists, and then in the Louvre.

Unfortunately, the French government did not agree to these terms. In February 1896 it finally reached an agreement with Renoir, who was executor of Caillebotte, according to which thirty-eight paintings were placed in the Luxembourg Palace. The remaining twenty-nine paintings (one of Renoir, he took as payment for their services executor) were offered to the French government has twice - in 1904 and 1908. And both times were refused. When the government finally attempted to require them in 1928, it opposed the widow of Caillebotte's son. Most of the remaining works were purchased by C. Albert Barnes and now owned by the Barnes Foundation in Philadelphia.

Forty Caillebotte's own works are now in the Museum d'Orsay. His painting "Man on the balcony, Boulevard Haussmann," written in 1880, was sold in 2000 for more than 14.3 million U.S. dollars.

[Meister]

the artist is definitely good, but not the most interesting, in my opinion, among the Impressionists ... Too many of his works of old, classical, and soul in them there ... or maybe I could not see it yet)))

[ottenki_serogo]

It is the most "conceptual", not counting the Monet. Written with the soul, but in certain specified limits.

[Meister]

ottenki_serogo, I in no case does not diminish its artistic value ... I personally do not see her in such amounts as he pripisyvaetsyaya)) and therefore it is considered the most "conceptual"?

[ottenki_serogo]

He theorized that all the time, then with a photograph, then with the prospect, so these still-lifes from private collections - almost pop-art at that time.

[Meister]

not ready to accept ... Caillebotte, wrote in the style of realism, what is it innovative? experiments with perspective?

[ottenki_serogo]

After his death, 120 years have passed, were Malevich, Soutine, Warhol, and me and today they still lifes, which he watches from above, seem to be interesting and even some kind of weird. It would seem, why write a series of plates on the table or workers tsiklyuyuschih floor? I think this would be its image, the image of time, France.

As in the various studies Roginskaya or B. Turetsky is the image of Soviet life.

[Кирилл Сызранский]

Сообщение от ottenki_serogo

How in the various studies Roginskaya or B. Turetsky is the image of Soviet life.

I then cut to Caillebotte never watched. The image of France, but also the time for me to Mars ...
But Caillebotte's pictures I like. But for some reason he is not in the front row?
Or good. Better alone than in the ranks ... No?

[LCR]

Сообщение от ottenki_serogo

After his death, 120 years have passed, were Malevich, Soutine, Warhol, and me and today they still lifes, which he watches from above, seem to be interesting and even some kind of weird. It would seem, why write a series of plates on the table or workers tsiklyuyuschih floor? I think this would be its image, the image of time, France.

As in the various studies Roginskaya or B. Turetsky is the image of Soviet life.

Believe me, I would not allow herself to invade someone else's topic, but since I went to talk about the paintings with a strange vision, and in the plot a surprise for me came the name Roginsky, so see what is the thing (as said one of my young friend, and intelligent - art, "totally speculative work):

[ottenki_serogo]

Cyril Syzransky: "I am in this section of Caillebotte's never watched. The image of France, but also the time for me to Mars ..."

For me the most interesting in any art is that is "for" painting. However, it differs only Arts with a capital letter.