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Today we're going to Learn about the Great and Famous Gustave Caillebotte I hope it would be interesting and entertaining your day !
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Gustave Caillebotte (French: [ɡystav kɑjbɔt]; 19 August 1848 – 21 February 1894) was a French painter, member and patron of the group of artists known as Impressionists, though he painted in a much more realistic manner than many other artists in the group. Caillebotte was noted for his early interest in photography as an art form.
Gustave Caillebotte was born on 19 August 1848 to an upper-class Parisian family living in the rue du Faubourg-Saint-Denis. His father, Martial Caillebotte (1799–1874), was the inheritor of the family's military textile business and was also a judge at the Seine department's Tribunal de Commerce. Caillebotte's father was twice widowed before marrying Caillebotte's mother, Céleste Daufresne (1819–1878), who had two more sons after Gustave, René (1851–1876) and Martial (1853–1910). Caillebotte was born at home on rue du Faubourg-Saint-Denis in Paris, and lived there until 1866 when his father had a home built on rue de Miromesnil. Beginning in 1860, the Caillebotte family began spending many of their summers in Yerres, a town on the Yerres River about 12 miles (20 km) south of Paris, where Martial Caillebotte, Sr. had purchased a large property. It was around this time that Caillebotte probably began to draw and paint.
Caillebotte earned a law degree in 1868 and a licence to practise law in 1870. He was also an engineer. Shortly afterwards, he was drafted to fight in the Franco-Prussian war, and served from July 1870 to March 1871 in the Garde Nationale Mobile de la Seine.
After the war, Caillebotte began visiting the studio of painter Léon Bonnat, where he began to study painting seriously. He developed an accomplished style in a relatively short period of time and had his first studio in his parents' home. In 1873, Caillebotte entered the École des Beaux-Arts, but apparently did not spend much time there. He inherited his father's fortune in 1874 and the remaining sons divided the family fortune after their mother's death in 1878. Around 1874, Caillebotte met and befriended several artists working outside the official French Academy, including Edgar Degas and Giuseppe de Nittis, and attended (but did not participate in) the first Impressionist exhibition of 1874.
The "Impressionists" – also called the "Independents", "Intransigents", and "Intentionalists" – had broken away from the academic painters showing in the annual Salons. Caillebotte made his debut in the second Impressionist exhibition in 1876 showing eight paintings including Les raboteurs de parquet (The Floor Scrapers) (1875), his earliest masterpiece. Its subject matter, the depiction of labourers preparing a wooden floor (thought to have been that of the artist's own studio) was considered "vulgar" by some critics and is the probable reason why it was rejected by the Salon of 1875. At the time, the art establishment only deemed rustic peasants or farmers as acceptable subjects from the working class. The painting now resides at the Musée d'Orsay. A second version, in a more realistic style resembling that of Degas, was also exhibited, demonstrating Caillebotte's range of technique and his adept restatement of the same subject matter.
Caillebotte's style belongs to the School of Realism but was strongly influenced by his Impressionist associates. In common with his precursors, Jean-François Millet and Gustave Courbet, as well his contemporary Degas, Caillebotte aimed to paint reality as it existed and as he saw it, hoping to reduce painting's inherent theatricality. Perhaps because of his close relationship with so many of his peers, his style and technique varies considerably among his works, as if "borrowing" and experimenting, but not really sticking to any one style. At times, he seems very much in the Degas camp of rich-colored realism (especially his interior scenes) and at other times, he shares the Impressionists' commitment to "optical truth" and employs an impressionistic pastel-softness and loose brush strokes most similar to Renoir and Pissarro, though with a less vibrant palette.
The tilted ground common to these paintings is very characteristic of Caillebotte's work, which may have been strongly influenced by Japanese prints and the new technology of photography, though evidence of his actual use of photography is lacking. Cropping and "zooming-in", techniques which are also commonly found in Caillebotte's oeuvre, may also be the result of his interest in photography, but may just as likely derive from his intense interest in perspective effects. A large number of Caillebotte's works also employ a very high vantage point, including View of Rooftops (Snow) (Vue de toits (Effet de neige)) (1878), Boulevard Seen from Above (Boulevard vu d'en haut) (1880), and A Traffic Island (Un refuge, boulevard Haussmann) (1880).
Convinced after the death of his younger brother René in 1876 that his own life would be short, Caillebotte wrote his will while still in his twenties. In his will, Caillebotte donated a large collection to the French government. This collection ultimately included sixty-eight paintings by various artists: Camille Pissarro (nineteen), Claude Monet (fourteen), Pierre-Auguste Renoir (ten), Alfred Sisley (nine), Edgar Degas (seven), Paul Cézanne (five), and Édouard Manet (four).
At the time of Caillebotte's death, the Impressionists were still largely condemned by the art establishment in France, which was dominated by Academic art and specifically the Académie des beaux-arts. Because of this, Caillebotte realised that the cultural treasures in his collection would likely disappear into "attics" and "provincial museums". He therefore stipulated that they must be displayed in the Luxembourg Palace (devoted to the work of living artists), and then in the Louvre.
Unfortunately, the French government would not agree to these terms. In February 1896, they finally negotiated terms with Renoir, who was the will's executor, under which they took thirty-eight of the paintings to the Luxembourg. The installation constituted the first presentation of the Impressionists in a public venue in France. The remaining twenty-nine paintings (one, a Degas, was taken by Renoir in payment for his services as executor) were offered to the French government twice more, in 1904 and 1908, and were both times refused. When the government finally attempted to claim them in 1928, the bequest was repudiated by the widow of Caillebotte's brother Martial Caillebotte. Most of the remaining works were purchased by Albert C. Barnes, and are now held by the Barnes Foundation.
Forty of Caillebotte's own works are now held by the Musée d'Orsay. His Man on a Balcony, Boulevard Haussmann (Homme au balcon, boulevard Haussmann) (1880), sold for more than US$14.3 million in 2000.
Source : WikiPedia
Today we're going to Learn about the Great and Famous Gustave Caillebotte I hope it would be interesting and entertaining your day !
Thank you and there is lot of stuff coming soon so stay tuned to Toonstar6 and if you want any videos about art you can visit ouYouTube page!Check this out : https://www.youtube.com/user/toonstar6
Gustave Caillebotte was born on 19 August 1848 to an upper-class Parisian family living in the rue du Faubourg-Saint-Denis. His father, Martial Caillebotte (1799–1874), was the inheritor of the family's military textile business and was also a judge at the Seine department's Tribunal de Commerce. Caillebotte's father was twice widowed before marrying Caillebotte's mother, Céleste Daufresne (1819–1878), who had two more sons after Gustave, René (1851–1876) and Martial (1853–1910). Caillebotte was born at home on rue du Faubourg-Saint-Denis in Paris, and lived there until 1866 when his father had a home built on rue de Miromesnil. Beginning in 1860, the Caillebotte family began spending many of their summers in Yerres, a town on the Yerres River about 12 miles (20 km) south of Paris, where Martial Caillebotte, Sr. had purchased a large property. It was around this time that Caillebotte probably began to draw and paint.
Caillebotte earned a law degree in 1868 and a licence to practise law in 1870. He was also an engineer. Shortly afterwards, he was drafted to fight in the Franco-Prussian war, and served from July 1870 to March 1871 in the Garde Nationale Mobile de la Seine.
After the war, Caillebotte began visiting the studio of painter Léon Bonnat, where he began to study painting seriously. He developed an accomplished style in a relatively short period of time and had his first studio in his parents' home. In 1873, Caillebotte entered the École des Beaux-Arts, but apparently did not spend much time there. He inherited his father's fortune in 1874 and the remaining sons divided the family fortune after their mother's death in 1878. Around 1874, Caillebotte met and befriended several artists working outside the official French Academy, including Edgar Degas and Giuseppe de Nittis, and attended (but did not participate in) the first Impressionist exhibition of 1874.
The "Impressionists" – also called the "Independents", "Intransigents", and "Intentionalists" – had broken away from the academic painters showing in the annual Salons. Caillebotte made his debut in the second Impressionist exhibition in 1876 showing eight paintings including Les raboteurs de parquet (The Floor Scrapers) (1875), his earliest masterpiece. Its subject matter, the depiction of labourers preparing a wooden floor (thought to have been that of the artist's own studio) was considered "vulgar" by some critics and is the probable reason why it was rejected by the Salon of 1875. At the time, the art establishment only deemed rustic peasants or farmers as acceptable subjects from the working class. The painting now resides at the Musée d'Orsay. A second version, in a more realistic style resembling that of Degas, was also exhibited, demonstrating Caillebotte's range of technique and his adept restatement of the same subject matter.
Caillebotte's style belongs to the School of Realism but was strongly influenced by his Impressionist associates. In common with his precursors, Jean-François Millet and Gustave Courbet, as well his contemporary Degas, Caillebotte aimed to paint reality as it existed and as he saw it, hoping to reduce painting's inherent theatricality. Perhaps because of his close relationship with so many of his peers, his style and technique varies considerably among his works, as if "borrowing" and experimenting, but not really sticking to any one style. At times, he seems very much in the Degas camp of rich-colored realism (especially his interior scenes) and at other times, he shares the Impressionists' commitment to "optical truth" and employs an impressionistic pastel-softness and loose brush strokes most similar to Renoir and Pissarro, though with a less vibrant palette.
The tilted ground common to these paintings is very characteristic of Caillebotte's work, which may have been strongly influenced by Japanese prints and the new technology of photography, though evidence of his actual use of photography is lacking. Cropping and "zooming-in", techniques which are also commonly found in Caillebotte's oeuvre, may also be the result of his interest in photography, but may just as likely derive from his intense interest in perspective effects. A large number of Caillebotte's works also employ a very high vantage point, including View of Rooftops (Snow) (Vue de toits (Effet de neige)) (1878), Boulevard Seen from Above (Boulevard vu d'en haut) (1880), and A Traffic Island (Un refuge, boulevard Haussmann) (1880).
Convinced after the death of his younger brother René in 1876 that his own life would be short, Caillebotte wrote his will while still in his twenties. In his will, Caillebotte donated a large collection to the French government. This collection ultimately included sixty-eight paintings by various artists: Camille Pissarro (nineteen), Claude Monet (fourteen), Pierre-Auguste Renoir (ten), Alfred Sisley (nine), Edgar Degas (seven), Paul Cézanne (five), and Édouard Manet (four).
At the time of Caillebotte's death, the Impressionists were still largely condemned by the art establishment in France, which was dominated by Academic art and specifically the Académie des beaux-arts. Because of this, Caillebotte realised that the cultural treasures in his collection would likely disappear into "attics" and "provincial museums". He therefore stipulated that they must be displayed in the Luxembourg Palace (devoted to the work of living artists), and then in the Louvre.
Unfortunately, the French government would not agree to these terms. In February 1896, they finally negotiated terms with Renoir, who was the will's executor, under which they took thirty-eight of the paintings to the Luxembourg. The installation constituted the first presentation of the Impressionists in a public venue in France. The remaining twenty-nine paintings (one, a Degas, was taken by Renoir in payment for his services as executor) were offered to the French government twice more, in 1904 and 1908, and were both times refused. When the government finally attempted to claim them in 1928, the bequest was repudiated by the widow of Caillebotte's brother Martial Caillebotte. Most of the remaining works were purchased by Albert C. Barnes, and are now held by the Barnes Foundation.
Forty of Caillebotte's own works are now held by the Musée d'Orsay. His Man on a Balcony, Boulevard Haussmann (Homme au balcon, boulevard Haussmann) (1880), sold for more than US$14.3 million in 2000.
Source : WikiPedia
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