Gaëtan Picon, Émile Zola: Le bon combat, de Courbet aux impressionnistes (Hermann, 1974), pp. cat. These, combined with the impact of the rain across the scene, and helped Paris Street, Rainy Day to be considered as one of Caillebotte's finest works. Art Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. 28, 31, 33–36. 2–3. Art Institute of Chicago, Pocket Guide to the Art Institute of Chicago (Art Institute of Chicago, 1983), pp. (Folkwang/Steidl, 2010), pp. 28 (ill.), 29. al., Gustave Caillebotte, Painter and Patron of Impressionism, exh. Welcome to the Art Institute’s online scholarly catalogues. cat. Sandra Gianfreda, exh. Jean-Marie Baron, Caillebotte: Impressionniste (Herscher, 1994), pp. 38–39, cat. 51, 54, 56, 60. Jeanne Bouniort, exh. A. Descubes [Amédée Descubes-Desgueraines], “L’exposition des impressionnistes,” Gazette des lettres, des sciences et des arts 1, 12 (Apr. Dayton (Ohio) Art Institute, French Paintings, 1789–1929: From the Collection of Walter P. Chrysler, Jr., Mar. (Museum of Fine Arts, Houston, 1976), pp. (Museum of Fine Arts, Houston, 1976), pp. Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 1999), pp. Analysis Of Gustave Caillebotte 's Paris Street 903 Words | 4 Pages. Morisot, The Cradle. 20; 26, n. 49. cat. 2–Apr. Caillebotte’s masterpiece, Paris Street; Rainy Day (1877), uses bold perspective to create a monumental portrait of a Paris intersection on a rainy day. Juliet Wilson-Bareau, Manet, Monet, la gare Saint-Lazare, trans. B. Tauris, 2007), pp. Dayton (Ohio) Art Museum, French Paintings, 1789–1929: From the Collection of Walter P. Chrysler Jr., exh. It depicts an intersection near the Saint-Lazare railway station with a wide-angle view. Art Institute of Chicago, Illinois, United States. 95 (ill.), 278. Daniel Charles, “Caillebotte and Boating,” in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter Bürger et al., exh. 19, 1877, p. 1. 13. James Rondeau, “New Art/Old Museum: Contemporary Artists Engaging the Encyclopedia,” in Curating Now, ed. Gloria Groom, exh. 7, 1969, cat. Anne Distel, “Charles Deudon (1832–1914), collectionneur,” Revue de l’art 86 (1989), p. 61, n. 16. 124; 125; 133, cat. cat. 37. Alan Artner, “Urban Landscapes,” Chicago Tribune Magazine, Feb. 12, 1995, p. 26 (ill.). cat. 244; 267, n. 14; 248; 249. Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. cat. 43, fig. 25 (ill.); 74; 106; 108; 110–13, cat. Alongside the attention to detail on the architecture, there are also some highly skilled figurative portraits to be found in this painting, too. cat. (Galerie Beaux-Arts, 1951), cat. (Fine Arts Museums of San Francisco, 1986), pp. 4 (detail); pp. cat. 155–56; 166, fig. Alexandre Pothey, “Beaux-arts,” Le petit parisien, Apr. (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. Gloria Groom, “Intérieurs et portraits,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. Patty Lurie, Guide to Impressionist Paris (Lilburne/Parigramme, 1996), pp. 120, 181, 208, 220. 52 (ill.); 249; 261. 3.2. 6. 1995), p. 53 (ill.). cat. Jeanne Bouniort, exh. Andrea Frey, Der Stadtraum in der französischen Malerei, 1860–1900 (Reimer, 1999), pp. It’s an unromantic, realistic … Robert Rosenblum, “Gustave Caillebotte: The 1970s and the 1870s,” Artforum 15, 7 (Mar. 5; 23. 11 (ill.). One of the benefits of realism is that one can almost reach out and touch this scene, from the material of the clothing and umbrellas to the rain … 1, as Rue de Paris; Temps de pluie. “Paris Street, Rainy Day,” which Caillebotte plotted for months, hangs at the Art Institute of Chicago, where it blasts away the company. 8, 1877, pp. Ann Dumas, Degas and the Italians in Paris (National Galleries of Scotland, 2003), pp. Akihiko Inoue, Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. John Milner, Atelier d’artistes: Paris, capital des arts à la fin du XIXe siècle, trans. Paris Street; Rainy Day Artist / Origin: Gustave Caillebotte (French, 1848–1894) Region: Europe Date: 1877 Period: 1800 CE – 1900 CE Material: Oil on canvas Medium: Painting Dimensions: H: 83 ½ in. 27–May 27, 1956; San Francisco, California Palace of the Legion of Honor, opened June 11, 1956; Los Angeles County Museum, July 27–Aug. 30; 349. exh. Paris Street; Rainy Day (1877) by Gustave Caillebotte. Art Institute of Chicago. 18 (ill.). 13, 14. 57 (ill.); 282. “Paris Street, Rainy Day,” which Caillebotte plotted for months, hangs at the Art Institute of Chicago, where it blasts away the company. Sarah Kennel, “Photograph and the Painter’s Eye,” 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. Paris Street; Rainy Day is a large 1877 oil painting by the French artist Gustave Caillebotte, and i…New content will be added above the current area of focus upon selectionParis Street; Rainy Day is a large 1877 oil painting by the French artist Gustave Caillebotte, and is his best known work. Philippe Burty, “Exposition des impressionnistes,” La république française, Apr. Anne-Birgitte Fonsmark, “Gustave Caillebotte: In the Midst of Impressionism; An Introduction,” in Anne-Birgitte Fonsmark, Dorothee Hansen, and Gary Hedin, Gustave Caillebotte, with additional essays by Peter Bürger et al., exh. 68–69 (ill.), 70. Patricia Failing, “The Objects of Their Affection,” Art News 81, 9 (Nov. 1982), p. 124 (ill.). 536, fig. Robert Rosenblum, “The 19th-Century Franc Revalued,” Art News 68, 4 (Summer 1969), front cover (detail); pp. (Flammarion/Culturspaces/Musée National des Beaux-Arts du Québec/Musée Jacquemart-André, Institute de France, 2011), pp. Sharon L. Hirsh, Symbolism and Modern Urban Society (Cambridge University Press, 2004), pp. Jack Perry Brown, “The Return of the Salon: Jean Gérôme in the Art Institute,” Art Institute of Chicago Museum Studies 15, 2 (1989), p. 157. cat. Gustave Caillebotte: Paris Street; Rainy Day Artist: Gustave Caillebotte (1848–1894) Alternative names: Gustav Caillebotte; Caillebotte: Description: French painter, art collector, patron of the arts, philatelist, marine architect and sailor: Date of birth/death: 19 August 1848 21 February 1894 Location of birth/death: Paris: Gennevilliers: Work period: between 1863 and 1893 . The artist strikingly captured a vast, stark modernity, complete with life-size figures strolling in the foreground and wearing the latest fashions. (Linea d’Ombra, 2004), p. 79. Maria Mimita Lamberti, “Mitografie parigine nel secondo ottocento,” in Pier Giovanni Castagnoli, Barbara Cinelli, and Maria Mimita Lamberti, De Nittis e la pittura della vita moderna in Europa (Galleria Civica d’Arte Moderna e Contemporanea, 2002), pp. Paris Street; A Rainy Day- Gustave Caillebotte Breaking the History Down. 1973), p. 11. John House, Impressionism: Paint and Politics (Yale University Press, 2004), pp. (Nihon Nippon Television Network, 1985), pp. Jahrhundert (Jonas, 2011), pp. 24–25 (ill.). J. Kirk T. Varnedoe, “Caillebotte: An Evolving Perspective,” in J. Kirk T. Varnedoe and Thomas P. Lee, Gustave Caillebotte: A Retrospective Exhibition, with contributions by J. Kirk T. Varnedoe, Marie Berhaut, Peter Galassi, and Hilarie Faberman, exh. Shimbata Yasuhide, exh. 196; 197, fig. 47, cat. MaryAnne Stevens, ed., Alfred Sisley, exh. Mary Morton, with Camille Mathieu, Galina Olmsted, and George T. M. Shackelford, “Catalog,” 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. Kuraishi Shino, “Caillebotte and Photographic Sense of Vision,” in Gustave Caillebotte: Impressionist in Modern Paris, ed. 20, 1877), p. 187. cat. Gloria Groom, Édouard Vuillard: Painter-Decorator; Patrons and Projects, 1892–1912 (Yale University Press, 1993), p. 171, pl. In all his paintings and particularly this one, Caillebotte gives great importance to the clarity of the minutest details. Karin Sagner, Gustave Caillebotte: Neue Perspektiven des Impressionismus (Himer, 2009), pp. 10, 1960, p. 12X (ill.). 46; 47, fig. Art Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), pp. Caroline Mathieu, “Eugène Haussmann und das Neue Paris,” in Die Eroberung der Strasse: Von Monet bis Grosz, ed. Martha Kapos, ed., The Impressionists: A Retrospective (Hugh Lauter Levin/Macmillan, 1991), p. 119, pl. (Hatje Cantz, 2008), p. 27. 93 (ill.); 189–95. xix. One of the benefits of realism is that one can almost reach out and touch this scene, from the material of the clothing and umbrellas to the rain soaked pebbled path. Hartwig Fischer, Bilder einer Metropole: Die Impressionisten in Paris, ed. Ph. 12; 18–19 (detail); 30–31, pl. (Musée d’Orsay/Art Institute of Chicago, 1995), pp. cat. And, as you now already know thanks to Ferris Beuller, Paris Street; Rainy Day is located in the Art Institute of Chicago in Chicago, Illinois in the United States. 63; 64, fig. cat. 3. As the artist lived and matured in his work all around him were felt the upheavals of Baron von Haussmann's urban regeneration of Paris. Cassatt, Woman with a Pearl Necklace in a Loge. 82–83 (ills. 77, 79 (ill.). Karin Sagner, Matthias Ulrich, Vittorio Magnago Lampugnani, and Max Hollein, exh. Marie-Amélie Anquetil, “Caillebotte: Peintre et cinéaste,” Caillebotte, Dossier de l’art 20 (Sept. 1994), pp. Only 10 left in stock - order soon. 25, 1877, p. 3. Then this is perfect for you! The dominating structure in Paris Street; Rainy Day is the Place de Dublin building presented from the eastern side of the Rue de Turin. Gloria Groom, “Les espaces de la modernité,” in L’impressionnisme et la mode, ed. The carefully planned perspective of this Paris street would have been studied intently by the artist in order to achieve an accurate finish. Richard R. Brettell, “A View from Portland: 110 Years of Modern French Art in Portland,” in Paris to Portland: Impressionist and Post-Impressionist Masters in Portland Collections, exh. Marco Goldin, ed., Turner e gli impressionisti: La grande storia del paesaggio moderno in Europa, exh. Art Institute of Chicago, The Art Institute of Chicago Annual Report, 1964–65 (Art Institute of Chicago, 1965), pp. Paris Street; Rainy Day is a typical Impressionist subject, modern life in an urban setting, identified as the intersection between rue de Turin and rue de Moscou. “Historia del impresionismo,” Saber ver: Lo contemporáneo del arte 20 (Jan.–Feb. Éric Darragon, “Gustave Caillebotte, une nouvelle peinture,” in Serge Lemoine et al., Dans l’intimité des frères Caillebotte: Peintre et photographe, exh. Cassatt, Little Girl in a Blue Armchair. 46 (ill.), 47. The artist (died 1894); by descent to Martial Caillebotte (brother) and Marie Minoret (Martial’s wife), Paris, 1894 [this and the two following per Portland Art Museum, Paintings from the Collection of Walter P. Chrysler, Jr., exh. 1; 33 (detail). 56. Anne Distel, “Naissance d’un impressionniste,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte, 1848–1894, trans. x; 51, fig. The painting Paris Street; Rainy Day snapshots a beautiful moment on a typical, even dull, day.French painter, Gustave Caillebotte titled this Rue de Paris Wet Weather – a simple name.Its plainness points to the piece’s subject. cat. (Portland Museum of Art, 2006), pp. This one is a large oil painting created in 1877 by Gustave Caillebotte and has been considered to be his best-known work. 21; 296–97. Simultaneously published as Gloria Groom and Douglas Druick, The Age of Impressionism at the Art Institute of Chicago, with the assistance of Dorota Chudzicka and Jill Shaw (Art Institute of Chicago/Yale University Press, 2008), pp. Groundbreaking conservation and research discoveries about Caillebotte’s remarkable and beloved painting Paris Street: Rainy Day are revealed in this digital catalogue. 244, pl. ), W: 108 ¾ in. Paris Street, Rainy Day (1875) While Zola had blasted The Floor Scrapers the year before, when Caillebotte exhibited Paris Street, Rainy Day along with five other paintings, the influential critic had a much more positive view of the artist's work. David McCracken, “Picking Chicago’s Top Art Hits,” Chicago Tribune, Aug. 18, 1989, p. 7.3 (ill.). Caillebotte was fascinated by the latest art form: … Rodolphe Rapetti, “Gustave Caillebotte e la Senna,” in Monet la Senna le ninfee: Il grande fiume e il nuovo secolo, ed. Gustave Caillebotte’s Paris Street; Rainy Day, painted in 1877, is one of the painter’s masterpieces and at the center of the Art Institute of Chicago collection. cat. J. Patrice Marandel, “New Installation of Earlier Paintings,” Bulletin of the Art Institute of Chicago 73, 1 (Jan.–Feb. 13. (Réunion des Musées Nationaux, 1994), p. 182. Max Wykes-Joyce, “Maecenas at Work: Gustave Caillebotte,” Art Review 18, 11 (June 11, 1966), p. 269. 1–31. Paris Street Rainy Day is an oil painting produced in 1877 by the French painter Gustave Caillebotte. Stephanie L. Herdrich, “Hassam in Paris, 1886–1889,” in H. Barbara Weinberg, Childe Hassam: American Impressionist, with contributions by Elizabeth E. Barker et al., exh. 78 (ill.); Seattle Art Museum, Apr. 1977), pp. Gottfried Boehm (Fink, 1985), pp. David van Zanten, “Looking Through, Across, and Up: The Architectural Aesthetics of the Paris Street,” in Impressionism, Fashion, and Modernity, ed. cat. Richard Brettell, “Gustave Caillebotte and ‘The New Painting’: A Centennial Review,” Apollo 142, 406 (Dec. 1995), pp. 2. 20, 1877, p. 1. Erik Mørstad, “Christian Krohg i Skagen: Et Norsk Perspektiv,” in Christian Krohg og Skagen, exh. 38 (ill.); Fine Arts Museums of San Francisco and M. H. de Young Memorial Museum, Apr. 102 (ill.), 257, 260, 261. 72–73 (ill.). 2, 1977, cat. He tended to use brighter colours and heavier brushwork in his later works. Paris Street; Rainy Day resembles a photograph. Bertall [Charles-Albert d’Arnoux], “Exposition des impressionnistes,” Paris-Journal, Apr. There are many aspects that we will be looking at to analyze this 76; 87; 88; 90. Kirk Varnedoe, “Odd Man In: A Brief Historiography of Caillebotte’s Changing Roles in the History of Art,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. cat. John Maxon, “Some Recent Acquisitions,” Apollo 84, 55 (Sept. 1966), front cover (detail); pp. At nearly nine feet wide, the painting’s foreground figures are life-size and the deep perspective invites you to step into the frame. 165, 166, 168. 36, fig. cat. Anonymous [possibly Gaston Vassy], “La journée à Paris: L’exposition des impressionnalistes,” L’événement, Apr. Jacques Crevelier, “À travers l’art: Caillebotte,” Le soir, June 8, 1894. 25 (ill.); Brooklyn Museum, Feb. 12–Apr. Clare Kunny, “Taking the Tour: How a Museum Lecturer Looks at the Museum,” New Art Examiner 24, 5 (Feb. 1997), pp. 99; 298. 77 (ill.). This French master would depict multiple arrangements of haystacks at different times of the day and in different climatic conditions in order to understand more about the visual changes that would occur. View this work up close on the Google Art Project. J. Kirk T. Varnedoe, with Hilarie Faberman, “Gustave Caillebotte: A Biography,” in J. Kirk T. Varnedoe and Thomas P. Lee, Gustave Caillebotte: A Retrospective Exhibition, with contributions by J. Kirk T. Varnedoe, Marie Berhaut, Peter Galassi, and Hilarie Faberman, exh. Art Institute of Chicago, Treasures from the Art Institute of Chicago, selected by James N. Wood, with commentaries by Debra N. Mancoff (Art Institute of Chicago/Hudson Hills, 2000), pp. xvii; xviii, fig. 43–45 (ill.); 98–99, cat. Gustave Caillebotte’s Paris Street; Rainy Day begun production in 1876 and was finished early in 1877, showing a flaneur’s-eye view of an ordinary slice of bourgeois life. (Metropolitan Museum of Art/Yale University Press, 2004), p. 58. (212.2 cm. 342, pl. (276.2 cm.) Gloria Groom, ed., L’impressionnisme et la mode, exh. 217, n 44; 235; 247. Anne Distel, “Chronology,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. Elizabeth Benjamin, “All the Discomforts of Home: Caillebotte and the Nineteenth-Century Bourgeois Interior,” 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. 11; 28; 31; 66; 67; 127; 146; 214; 244, fig. 36; 37; 38, n. 1. Pier Giovanni Castagnoli, Barbara Cinelli, and Maria Mimita Lamberti, De Nittis e la pittura della vita moderna in Europa (Galleria Civica d’Arte Moderna e Contemporanea, 2002), p. 166. Image source Wikimedia … Paris Street; Rainy Day (French Rue de Paris, temps de pluie) is a large 1877 oil painting by the French artist Gustave Caillebotte (1848–1894), and is his best known work. Raymond Cogniat et al., with the assistance of Robert Maillard, Dictionnaire de la peinture moderne (Hazan, 1954), p. 43. 56; 57, fig. Nancy Forgione, “Everyday Life in Motion: The Art of Walking in Late-Nineteenth-Century Paris,” Art Bulletin 86, 4 (Dec. 2005), pp. 72; 73, fig. Gustave Caillebotte‘s Paris Street; Rainy Day was exhibited for the first time in the Third Impressionist exhibition in Paris, held in 1877. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), pp. Patrick Shaw Cable, “Caillebotte and Modern Realist Concerns during the First Impressionist Exhibitions,” Excavatio 17, 1–2 (2002), pp. cat. cat. 42 (ill.), 43, 46. Frédéric Chevalier, “Les impressionnistes,”L’artiste, May 1, 1877, p. 332. Oil on canvas. Denys Sutton, “Gustave Caillebotte,” in Gustave Caillebotte, 1848–1894: A Loan Exhibition in Aid of the Hertford British Hospital in Paris, exh. 95; 96; 97, fig. 7, 1877, p. 2. Perhaps it is possible that Caillebotte purposely pushes them into the background as a symbolic gesture of their lack of representation in the new Paris. (Fondation de l’Hermitage/Bibliothèque des Arts, 2005), pp. Anne Distel and Rodolphe Rapetti, “Petit Gennevilliers and Argenteuil,” in Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, with Julia Sagraves and an essay by Kirk Varnedoe, Gustave Caillebotte: Urban Impressionist, exh. Explanation of Other Impressionist Genre Paintings Paris Street Rainy Day translation in English - German Reverso dictionary, see also 'plaster of Paris',parish',pairs',parings', examples, definition, conjugation 20, 21 (ill.). 12; 174; 175, fig. cat. Georges Rivière, “Les intransigeants et les impressionnistes: Souvenir du salon libre de 1877,” L’artiste, Nov. 1, 1877, p. 302. (Art Institute of Chicago/Metropolitan Museum of Art, New York/Musée d’Orsay/Yale University Press, 2012), p. 291, cat. Painting By Gustave Caillebotte "Paris street. James Henry Rubin, Impressionism, Art and Ideas (Phaidon, 1999), pp. 16.39. (Bridgestone Museum of Art/Ishibashi Foundation, 2013), p. 271. He gives us a slice of life. cat. MaryAnne Stevens, exh. Sculpture Foundation, Solid Impressions: J. Seward Johnson, Jr. (Sculpture Foundation, 2002), p. 10 (ill.). (Réunion des Musées Nationaux, 1994), pp. Paris Street; Rainy Day (French Rue de Paris, temps de pluie) is a large 1877 oil painting by the French artist Gustave Caillebotte (1848–1894), and is his best known work. Ruth E. Iskin, Modern Women and Parisian Consumer Culture in Impressionist Painting (Cambridge University Press, 2007), pp. 25 (ill.); 116; 119; 122; 129; 133; 210–11; 212–13; 214–16. 128–129 (ill.); 130; 136–139; 146; 148; 152–156, cat. 1877, cat. Christie’s, New York, Impressionist and Modern Art (Evening Sale), sale cat. 96–97, fig. “Lecturer’s Choice,” Bulletin of the Art Institute of Chicago 67, 4 (Jul.–Aug. cat. Lyn H. Lofland, The Public Realm: Exploring the City’s Quintessential Social Territory (Aldine de Gruyter, 1998), pp. Indeed, it was the destruction of the medieval alleyways and ancient … Robert Boardingham, Impressionist Masterpieces in American Museums (Hugh Lauter Levin, 1996), pp. Shimbata Yasuhide, exh. 124, 140 (ill.). (National Gallery of Art, Washington, D.C./Kimbell Art Museum, 2015), pp. x; 15, fig. 47. Éric Darragon, Caillebotte, Tout l’art (Flammarion, 1994), pp. Griselda Pollock, Vision and Difference: Feminism, Femininity, and the Histories of Art (Routledge, 2003), pp. 233; 418. And for a mere €4.50 entrance fee, the Paris Sewer System Museum is a great idea for a rainy day in Paris. Worldwide within 24 hours ( Abrams, 1990 ), pp Nihon Nippon Television,. Grande storia del paesaggio moderno in Europa, exh, 100 Masterpieces ( Art Institute Chicago... 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The Age of Manet ( HarperCollins, 1992 ), 143 ( ill. ),.... ; 302 ; 309 ; 315 ; 466, pl decorative studies of flowers ; 30–31 pl... Of Paris ( University of Minnesota Press, 2004 ), pp ; 466, pl Medical Association (! Street ; Rainy Day '' became part of that tradition to Cartier-Bresson ( i, 1971 ), p..... Collection/Yale University Press, 2017 ) paris street; rainy day p. 347 ) and is considered one the! Drawings and Sculpture, sale cat, 1989 ), p. 303 https: ;., New York/Musée d ’ Orsay/Yale University Press, 2006 ), pp Paris Street ; Day... ( Routledge, 2003 ), pp 4 ( ill. ) Arts, Houston 1976..., 42, 43 ( ill. ) ; fort Worth, Tex., Kimbell Museum of Art/Ishibashi Foundation 2013... Saint Louis, Oct. 20–Nov American Medical Association 232 ( Apr people passing through Place Dublin... 291, cat Rouen Cathedral and the 1870s, ” Le petit Parisien, Apr Vittorio Magnago Lampugnani and! Paul Mantz, “ Menus propos: exposition impressionniste, ” L ’ exposition des impressionnistes, ”. Et La mode, exh Ash, ed., Impressionism: Art, Leisure, the...

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