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Paris Street: Rainy Day

Collection: 
The Art Institute of Chicago

 

For Nancy Forgione Caillebotte’s Paris Street exemplifies a new kind of urban etiquette:

“My claim is that these pedestrians, rather than exhibiting the alienation imputed to Parisians reacting to the altered environment, behave in accordance with the newly updated codes of street etiquette. Their social conduct does not make legible their states of mind, but the muted atmosphere and the steady, pensive rhythms of walking seem to create an ongoing balance between interiority and outward attention….
 The walkers in Paris Street: Rainy Day pursue their separate, inwardly experienced lives even as they participate in the city’s larger social network. The intervening space between oneself and other people has great social significance; sometimes one wishes to preserve that distance, and sometimes one wants to eliminate it. Indeed, the mood of Caillebotte’s painting suggests the tacit agreement of distance being maintained. The contingency of rain discourages pausing for the social or commercial distractions of the street and renders the walking more purposeful and the turn of mind more inward. The umbrellas help to preserve that distance, as they hold pedestrians farther apart than usual: the beholder, positioned as a potential insider, recognizes the impulse of the incoming man at the lower right to tilt his umbrella to the side in order to squeeze past the approaching couple.”

Nancy Forgione, “Everyday Life in Motion: The Art of Walking in Late-Nineteenth-Century Paris,” The Art Bulletin, vol. 87, no. 4 (December 2005): 675-6.

 

Michael Fried considers Caillebotte’s Paris Street from a psychological perspective:

“[I]n Paris Street: Rainy Day…I find a strongly absorptive painting in which the motif of carrying an umbrella to protect oneself from the rain becomes an ingenious device for thematizing a newly mobile mode of absorptive closure, one that also allows for the sharing or merging of individual lifeworlds, as in the three pairs of figures who perhaps should be seen as the painting’s true leitmotif: the two men at the extreme left, the two women walking into the distance immediately to the right of the lamppost, and most prominently the fashionable couple in the right foreground who share a single umbrella and look attentively to their right – their matched gazes a tour de force of apparent spontaneity – as if at a storefront, person, or other source of interest across the street.”

 Michael Fried, “Caillebotte’s Impressionism,” Representations, no. 66 (Spring 1999): 27.

 

Similar Subjects by Other Artists

Léopold Boilly, The Downpour, 1803

About the Artist

Born: Paris, 18 August 1848
Died: Gennevilliers, 21 February 1894
Nationality: French

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