Caillebotte

Sometimes the art is in the material. At least this could be a rapid conclusion of the exhibition presented in London at the Royal Academy of Art in 2024-1. From the informative Catalogue the importance of material is demonstrated. The ease of taking your equipment with you, like a sketchbook and out into nature have been an important feature of the impressionists’ movement. With artists challenging traditional techniques of painting and paintings as such even the apparently less noble material as paper had become a statement of being different from the established art academies making use of more noble materials. The impressionists made a convincing point with their additional use of materials accessible to all. Capture the moment and capture your very own impression of it. This is one way to immortalize the emotion and essence of the scene. In the catalogue of the exhibition I spotted “The Swimmer” drawn by Caillebotte with pastel on paper. Freezing the moment, freezing the motion and emotion is evident here, too. Testing different materials is part of the journey to find your artistic impression, expression or materialization of imagination. The ways and means are manifold.

Royal Academy, 2023: Impressionists on Paper. p 32

Gustave Caillebotte has done it again. Son of a great beneficiary of war efforts himself. He started with support from his father’s fortune on a painting career. Soon after his father’s death, he joined the group of “alternative artists”, later called the impressionists in France. On the 1.2.2023 the Musée d’Orsay acquired a key painting of Caillebotte for 43 Million € with the help of a donation by LVMH. Where does the hype come from? A catalogue of the exhibition of the painter “Gustave Caillebotte, The painter’s eye” from the National Gallery of Art in Washington from 2015 established Caillebotte again as a key person of the impressionist movement. Rich in diversity of motifs, the painter and supporter of the impressionists (Philantropist) has foreseen the challenge photography could bring to painting. The painter’s eye is well explained by Michael Marrinan (pp.22) in the catalogue. In fact, the spatial depth of the views of the streets of Paris is a precursor to many photographers and movies of several decades later. Caillebotte’s images of Paris depict well the mixed feelings about a daunting city size and the isolation of people captured in their own little inner circles with little communication despite or because of the noisy surroundings. Misty atmospheres allow to focus on impressions. Almost meditative walking in the city is his modern topic. Reflecting on painting as profession versus painting as artist is somehow an impressionist’s sociology of professions. Gustave Caillebotte did not have to paint for money and he was aware of social class differences as son of a factory owner. It did not spoil his artistic view with social facts, but rather tried to reveal the intrinsic beauty not only of landscapes, but ordinary working people. Other impressionists painted beautiful ballerinas, Caillebotte painted workers and sometimes more challenging parts of Paris in his early years. With climate change near Caillebotte’s home in full swing, we shall “adore” the rainy days in Paris even more. And in the countryside, too. The painter’s eye reveals a visionary view of the modern and post-modern world.

Tag: Caillebotte

Paper and Pastel