Wednesday, April 25, 2012




Throughout the majority of Caillebotte’s paintings, there is an impressionist influence and they have modernity. Being from a wealthy family allowed Caillebotte to be progressive and paint to his liking. He is labeled as an impressionist, but throughout his work, he did not follow all the conventions of the impressionist. In his life, Caillebotte suffered enormous loss that left him feeling isolated and alone. This theme is represented in his paintings. They show scenes of isolation and tension with quiet suffering from those within. From people walking in Paris streets assumeably just passing from point A to point B without any care for the surroundings to workers suffering work and maximum effort while feeling isolated. This isolation is however depicted in a time where the rebuilding of Paris is happening and the modernity of actions by the subjects. As exampled by the “Nude on a Couch”, 1882, the figure of a nude woman slung out over a couch appears to be crying or suffering in some way. The placement of the arm over her breast I believe was an attempt to not be completely obscene. An argument can be made that this was a voyeuristic look at someone, where I would contend, that the woman is nude because Caillebotte wanted to show complete exposure. As if the being exposed reflected the complete unhidden suffering of being alone, even in the nice apartment/home on fine furniture. I see the fine furniture as a symbol that this woman is successful and even she still is isolated and alone in her modern, upper class surroundings. In other paintings, Caillebotte shows certain genders performing tasks and other duties that were thought of as only for a woman or man. He was pushing the envelope in the sense of what was known and accepted. His paintings depict the regular man and do not glorify any of the subjects leaving the absence of idealization. Caillebotte uses perspective to further add drama and tension to his works, as well as making sure he pointed out the modern lifestyle and what was expected and encountered by the modern man. He was more focused on changing the ideas and hearts of those who viewed his paintings. So much so that he hosted several impressionist shows and until his death in 1894. He pushed for the acceptance from the academy of paintings by other artists in the impressionist movement.

I believe that Caillebotte's paintings were a critique on the life of modern man. I believe he depicted most his subjects in their current situation and the hard work that all had to make to be valued in the society. I think that he suffered greatly and was having family issues and with the money he had, I think that he may have been pulled greatly by the societal leaders. This however had advantages as having money gave him influence and that helped him push forth modernity and impressionism. Even if it was only after his death, the fact that he pushed for the acceptance of others and their station in life, shows me that he is the definition of what we consider modernity.

3 comments:

  1. You've got some good ideas. So, do you think that inclusion the modern surroundings of the nude figures celebrate modern life (and modern living conditions) in a way? It's interesting how the floral pattern of the couch is really eye-catching and detailed. Caillebotte obviously took a lot of time to depict the pattern.

    Do you think that Caillebotte wanted to draw attention to the "modern-ness" of this scene in order to celebrate it or critique it? I got the sense that might you feel both ways, since you mentioned that the woman is "successful" and "isolated" in the same sentence. Perhaps Caillebotte saw modernity as both a success and a failure.

    -Prof. Bowen

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  2. I like how you pointed out the "fine furniture shows the woman's success and yet at the same time she is alone and isolated" in Caillebotte's painting of the "Nude on the Couch". It shows us a glimpse of what kind of life the artist knew and perhaps was living himself. He had money, but still he felt isolated from the rest of the society.

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  3. I think it's interesting how Caillebotte likes to push the boundaries of gender and sexuality for domestic spaces. He's showing what looks like a sitting room or living room where you might entertain guests with readings or playing the piano, and areas that are usually depicted by very domestic scenes of women. He's included a woman but in an overtly sexual pose. He's provoking tension and confusion by placing the nude female outside of the privacy of the bedroom (where many nudes are depicted) and into a social domestic place in the house. By doing this is he saying that woman can be sexual outside of the bedroom, but because of modern society's views on women's roles they are isolated because of it?

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