Gustave Caillebotte's Paris Street; Rainy Day
The first thing that strikes me is the size of the work. About seven
feet tall and nine feet wide, this painting dominates its gallery and
overwhelms the viewer. The couple in the foreground of the painting is
nearly life size, and with the man poised to take another step it
seems he might climb right over the frame and walk right into the
gallery. The bold perspective thrusts the scene outward, and with
details such as the sharply receding roofline of the main building and
the acute tilt of the street, geometric and visual effects are created
which push and pull the viewer and instill the painting with action.
This work is more complex and detailed then one might first imagine,
and with such a rich surface and vast array of minutiae it truly
requires an "in person" viewing for full comprehension.
Painted in 1877 by the wealthy painter/impressionist connoisseur
Gustave Caillebotte, Paris, A Rainy Day is a depiction of a familiar
five-way intersection in a wealthy area of Paris near the artist's
home on a rainy and overcast day. A host of characters are dispersed
throughout the canvas, strolling about and engaging in usual daily
activities. The expansive street and uniform architecture, common in
Paris after Haussmann's renovations, are accentuated, and in many ways
the work is a verisitic snapshot of modern everyday life.
In the foreground a well to do couple with interlocked arms and a
shared umbrella walks towards the viewer. By noting the angle of
reflections from the lamppost and other figures it seems as if the
painter is taking his view from directly in front of these persons,
and being the most prominent figures they certainly warrant a more
detailed discussion. The man gazes to his right. His eyes are a soft
grayish hue and he walks assertively. The gaze on his face is
difficult to read; perhaps he is longing or being contemplative, in
any event he seems detached. It seems reasonable to label him the
protagonist. The woman tilts her head as well, and is most likely
observing the same object or event as her companion. Observed close up
she appears to have an emergent smile on her comely face. The dots on
her veil, a dazzlingly white earring (likely a diamond) and an azure
blue tuft of cloth noticeable at her neckline are particularly
striking, and provide vibrancy...
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...e men from the title
of flaneur. In the expression on their faces it almost seems as if
there is some yearning for prior times.
Because this painting is a modern cityscape it is ipso facto a
painting of modernity (one thinks of Baudelair) and a record of the
fashions of 1877. By recording the actual events of his own time,
Caillebotte was part of a somewhat radical new type of painting. His
figures are shown accurately in contemporary dress, and he has
essentially taken a mundane and fleeting moment and captured it
eternally on a monumental scale. Celebrating modernity, while
simultaneously casting a critical eye, is one of the signature
hallmarks of impressionism and inchoate modern art.
Paris, A Rainy Day is a complex work of both technical virtuosity and
implied thematic elements which synthesize to engross the viewer
visually and entice them mentally to think about urban life and
feelings of alienation. The painting conflates multiple issues which
surround and form the foundation of the art historical study of the
Impressionists' Paris, and remains in its grandeur as a historical
visual document, a commentary on urban life, and a testament to
modernity.
Throughout the article “The Code of the Streets,” Elijah Anderson explains the differences between “decent” and “street” people that can be applied to the approaches of social control, labeling, and social conflict theories when talking about the violence among inner cities due to cultural adaptations.
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