One hundred works between city and garden
The 100known paintings that tell the storyGustave Caillebotte
From the umbrellas of Haussmannian Paris to the canoes of Yerres, Caillebotte transforms modern life into a spectacle of perspectives - often at the precise moment when the sidewalk begins to slide.
Rue de Paris, rainy weather1877 · Art Institute of Chicago
Caillebotte was at the same time painter of the impressionist group, organizer of its exhibitions and collector clairvoyant enough to bequeath to France works by Monet, Renoir, Degas or Cézanne. This classification follows his moving gaze: on the balcony, on a boulevard, in a garden or a few centimeters from the water.
Gustave Caillebotte
Rue de Paris, rainy weather
"Rue de Paris, temps de rain", in an oblique and progressive inflection, takes its title seriously. Caillebotte transforms "Rue de Paris, temps de rain", according to this oblique and progressive cadence, into a problem of distance. THE framing specific to "Rue de Paris, rainy weather", always oblique and progressive, tightens the distances. Around "Rue de Paris, rainy weather", the same oblique and progressive tension animates each void.
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Gustave Caillebotte
Parquet planers
"Les Raboteurs de parquet", in a nervous and progressive inflection, takes its title seriously. Caillebotte transforms "Les Raboteurs de parquet", according to this nervous and progressive cadence, into a problem of distance. Framing specific to "Les Raboteurs de parquet", always nervous and progressive, accelerates the perspective. Around "Les Raboteurs de parquet", the same nervous and progressive tension animates each void.
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Gustave Caillebotte
Young man at his window
"Young man at his window", in a silent and progressive inflection, takes his title seriously. Caillebotte transforms "Young man at his window", according to this silent and progressive cadence, into a problem of distance. THE framing specific to "Young man at his window", always silent and progressive, makes the voids breathe. Around "Young man at his window", the same silent and progressive tension animates each void.
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Gustave Caillebotte
The Bridge of Europe
"The Bridge of Europe", in a luminous and progressive inflection, takes its title seriously. Caillebotte transforms "The Bridge of Europe", according to this luminous and progressive cadence, into a problem of distance. The framing specific to " The Bridge of Europe", always luminous and progressive, opposes gestures and architecture. Around "The Bridge of Europe", the same luminous and progressive tension animates each void.
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Gustave Caillebotte
The Boat Party
"The Boat Part", in a tight and progressive inflection, takes its title seriously. Caillebotte transforms "The Boat Part", according to this tight and progressive cadence, into a problem of distance. The framing specific to " The boat part, always tight and progressive, moves the center of gravity. Around "The Boat Part", the same tightened and progressive tension animates each void.
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Gustave Caillebotte
Man in the bath
"Man in the Bath", in an aerial and progressive inflection, takes its title seriously. Caillebotte transforms "Man in the Bath", according to this aerial and progressive cadence, into a problem of distance. The framing specific to "Man in the Bath ", always aerial and progressive, transforms the light. Around "Man in the Bath", the same aerial and progressive tension animates each void.
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Gustave Caillebotte
The Orange Trees
"Les Orangers", in a frontal and progressive inflection, takes its title seriously. Caillebotte transforms "Les Orangers", according to this frontal and progressive cadence, into a problem of distance. The framing specific to "Les Orangers", always frontal and progressive, frames a silent wait. Around "Les Orangers", the same frontal and progressive tension animates each void.
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Gustave Caillebotte
Boaters rowing on the Yerres
"Canotiers rowing on the Yerres", in a lateral and progressive inflection, takes its title seriously. Caillebotte transforms "Canotiers rowing on the Yerres", according to this lateral and progressive cadence, into a problem of distance. THE framing specific to "Canotiers rowing on the Yerres", always lateral and progressive, gives weight on a daily basis. Around "Canotiers rowing on the Yerres", the same lateral and progressive tension animates each void.
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Gustave Caillebotte
Perissoires
"Périssoires", in a suspended and progressive inflection, takes its title seriously. Caillebotte transforms "Périssoires", according to this suspended and progressive cadence, into a problem of distance. The framing specific to "Périssoires", always suspended and progressive, brings viewer and model closer together. Around "Périssoires", the same suspended and progressive tension animates each void.
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Gustave Caillebotte
The Boulevard seen from above
"The Boulevard seen from above", in a precise and progressive inflection, takes its title seriously. Caillebotte transforms "The Boulevard seen from above", according to this precise and progressive cadence, into a problem of distance. Framing specific to "Le Boulevard vu d’en Haut", always precise and progressive, organizes an unstable depth. Around "Le Boulevard vu d’en Haut", the same precise and progressive tension animates each void.
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Gustave Caillebotte
Portraits in the countryside
"Portraits in the countryside", in an oblique and brief inflection, takes its title seriously. Caillebotte transforms "Portraits in the countryside", according to this oblique and brief cadence, into a problem of distance. The framing specific to "Portraits in the countryside", always oblique and brief, narrows the distances. Around "Portraits in the Country", the same oblique and brief tension animates each void.
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Gustave Caillebotte
Lunch
"Le Déjeuner", in a brief nervous inflection, takes its title seriously. Caillebotte transforms "Le Déjeuner", according to this nervous and brief cadence, into a problem of distance. The framing specific to "Le Déjeuner", always nervous and brief, accelerates perspective. Around "Le Déjeuner", the same nervous and brief tension animates each void.
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Gustave Caillebotte
Interior, woman at the window
"Interior, woman at the window", in a silent and brief inflection, takes its title seriously. Caillebotte transforms "Interior, woman at the window", according to this silent and brief cadence, into a problem of distance. Framing specific to "Interior, woman at the window", always silent and brief, makes the voids breathe. Around "Interior, woman at the window", the same silent and brief tension animates each void.
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Gustave Caillebotte
In a cafe
"In a café", in a luminous and brief inflection, takes its title seriously. Caillebotte transforms "In a café", according to this luminous and brief cadence, into a problem of distance. The framing specific to "In a café", always bright and brief, opposes gestures and architecture. Around "In a Café", the same luminous and brief tension animates each void.
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Gustave Caillebotte
The Bésigue Part
"The Bésigue Part", in a tight and brief inflection, takes its title seriously. Caillebotte transforms "The Bésigue Part", according to this tight and brief cadence, into a distance problem. The framing specific to "The Part de bésigue", always tight and brief, moves the center of gravity. Around "The Part of Bésigue", the same tight and brief tension animates each void.
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Gustave Caillebotte
Naked woman lying on a couch
"Naked woman lying on a couch", in a brief aerial inflection, takes its title seriously. Caillebotte transforms "Naked woman lying on a couch", according to this aerial and brief cadence, into a problem of distance. Framing specific to "Naked woman lying on a couch", always airy and brief, transforms the light. Around "Naked woman lying on a couch", the same aerial and brief tension animates each void.
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Gustave Caillebotte
Henri Cordier
"Henri Cordier", in a frontal and brief inflection, takes his title seriously. Caillebotte transforms "Henri Cordier", according to this frontal and brief cadence, into a problem of distance. The framing specific to "Henri Cordier", always frontal and brief, frames a silent wait. Around "Henri Cordier", the same frontal and brief tension animates each void.
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Gustave Caillebotte
Portrait of the artist
"Portrait of the artist", in a lateral and brief inflection, takes its title seriously. Caillebotte transforms "Portrait of the artist", according to this lateral and brief cadence, into a problem of distance. The framing specific to "Portrait of the artist", always lateral and brief, gives weight to everyday life. Around "Portrait of the Artist", the same lateral and brief tension animates each void.
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Gustave Caillebotte
Young man at the piano (Martial Caillebotte)
"Young man at the piano (Martial Caillebotte)", in a suspended and brief inflection, takes its title seriously. Caillebotte transforms "Young man at the piano (Martial Caillebotte)", according to this suspended and brief cadence, into a problem of distance. The framing specific to "Young man at the piano (Martial Caillebotte)", always suspended and brief, brings together viewer and model. Around "Young man at the piano (Martial Caillebotte)", the same suspended tension and brief anime every void.
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Gustave Caillebotte
The man on the balcony, boulevard Haussmann
"The man on the balcony, boulevard Haussmann", in a precise and brief inflection, takes his title seriously. Caillebotte transforms "The man on the balcony, boulevard Haussmann", according to this precise and brief cadence, into a problem of distance. The framing specific to "The man on the balcony, boulevard Haussmann", always precise and brief, organizes an unstable depth. Around "The man on the balcony, boulevard Haussmann", the same precise and brief tension animates each void.
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Gustave Caillebotte
Billiards
"Le Billard", in an oblique and ample inflection, takes its title seriously. Caillebotte transforms "Le Billard", according to this oblique and ample cadence, into a problem of distance. The framing specific to "Le Billard", always oblique and ample, tightens the distances. Around "Le Billard", the same oblique and ample tension animates each void.
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Gustave Caillebotte
Building painters
"Building painters", in a nervous and ample inflection, takes its title seriously. Caillebotte transforms "Building Painters", according to this nervous and ample cadence, into a problem of distance. The framing specific to "Painters in building", always nervous and ample, accelerates perspective. Around "Building Painters", the same nervous and ample tension animates each void.
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Gustave Caillebotte
Rue Halévy, seen from the sixth floor
"Rue Halévy, seen from the sixth floor", in a silent and ample inflection, takes its title seriously. Caillebotte transforms "Rue Halévy, seen from the sixth floor", according to this silent and ample cadence, into a problem of distance. THE framing specific to "Rue Halévy, view from the sixth floor", always silent and ample, makes the voids breathe. Around "Rue Halévy, seen from the sixth floor", the same silent and ample tension animates each void.
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Gustave Caillebotte
Rue Halévy, seen from a balcony
"Rue Halévy, seen from a balcony", in a luminous and ample inflection, takes its title seriously. Caillebotte transforms "Rue Halévy, seen from a balcony", according to this luminous and ample cadence, into a problem of distance. THE framing specific to "Rue Halévy, seen from a balcony", always bright and ample, opposes gestures and architecture. Around "Rue Halévy, seen from a balcony", the same luminous and ample tension animates each void.
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Gustave Caillebotte
Boulevard of Italians
"Boulevard des Italians", in a tight and ample inflection, takes its title seriously. Caillebotte transforms "Boulevard des Italians", according to this tight and ample cadence, into a problem of distance. The framing specific to " Boulevard des Italians", always narrow and ample, shifts the center of gravity. Around "Boulevard des Italians", the same tight and ample tension animates each void.
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Gustave Caillebotte
St. Augustine's Square
"Place Saint-Augustin", in an aerial and ample inflection, takes its title seriously. Caillebotte transforms "La Place Saint-Augustin", according to this aerial and ample cadence, into a problem of distance. The framing specific to "La Place Saint-Augustin", always airy and ample, transforms the light. Around "Place Saint-Augustin", the same aerial and ample tension animates each void.
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Gustave Caillebotte
Place Saint-Augustin, foggy weather
"Place Saint-Augustin, foggy weather", in a broad frontal inflection, takes its title seriously. Caillebotte transforms "Place Saint-Augustin, foggy weather", according to this broad frontal cadence, into a problem of distance. The framing specific to "Place Saint-Augustin, foggy weather", always frontal and ample, frames a silent wait. Around "Place Saint-Augustin, foggy weather", the same frontal and ample tension animates each void.
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Gustave Caillebotte
Boulevard Haussmann, snow effect
"Boulevard Haussmann, snow effect", in a lateral and ample inflection, takes its title seriously. Caillebotte transforms "Boulevard Haussmann, snow effect", according to this lateral and ample cadence, into a problem of distance. THE framing specific to "Boulevard Haussmann, snow effect", always lateral and ample, gives weight to everyday life. Around "Boulevard Haussmann, snow effect", the same lateral and ample tension animates each void.
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Gustave Caillebotte
Roofs under the snow, Paris
"Toits sous la neige, Paris", in a suspended and ample inflection, takes its title seriously. Caillebotte transforms "Toits sous la neige, Paris", according to this suspended and ample cadence, into a problem of distance. The framing specific to " Roofs under the snow, Paris", always suspended and ample, brings together viewer and model. Around "Roofs under the snow, Paris", the same suspended and ample tension animates each void.
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Gustave Caillebotte
Snow roofs
"Snowy Roofs", in a precise and ample inflection, takes its title seriously. Caillebotte transforms "Snowy Roofs", according to this precise and ample cadence, into a distance problem. The framing specific to "Snowy Roofs", always precise and ample, organizes an unstable depth. Around "Snowy Roofs", the same precise and ample tension animates each void.
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Gustave Caillebotte
Paris under the snow
"Paris under the snow", in an oblique and jerky inflection, takes its title seriously. Caillebotte transforms "Paris under the snow", according to this oblique and jerky cadence, into a problem of distance. The framing specific to "Paris under the snow", always oblique and jerky, narrows the distances. Around "Paris under the snow", the same oblique and jerky tension animates each void.
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Gustave Caillebotte
Square in Paris, snowy weather
"Square in Paris, snowy weather", in a nervous and jerky inflection, takes its title seriously. Caillebotte transforms "Square in Paris, snowy weather", according to this nervous and jerky cadence, into a problem of distance. THE framing specific to "Square in Paris, snowy weather", always nervous and jerky, accelerates the perspective. Around "Square in Paris, snowy weather", the same nervous and jerky tension animates each void.
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Gustave Caillebotte
Perissoire on the Yerres
"Périssoire sur l’Yerres", in a silent and jerky inflection, takes its title seriously. Caillebotte transforms "Périssoire sur l’Yerres", according to this silent and jerky cadence, into a problem of distance. The proper framing at "Périssoire sur l’Yerres", always silent and jerky, makes the voids breathe. Around "Périssoire sur l’Yerres", the same silent and jerky tension animates each void.
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Gustave Caillebotte
Perissoires on the Yerres
"Périssoires sur l’Yerres", in a luminous and jerky inflection, takes its title seriously. Caillebotte transforms "Périssoires sur l’Yerres", according to this luminous and jerky cadence, into a problem of distance. The framing specific to "Périssoires sur l’Yerres", always luminous and jerky, opposes gestures and architecture. Around "Périssoires sur l’Yerres", the same luminous and jerky tension animates each void.
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Gustave Caillebotte
Boater rowing on the perissoire
"Canoe rowing on the perissoire", in a tight and jerky inflection, takes its title seriously. Caillebotte transforms "Canoe rowing on the perissoire", according to this tight and jerky cadence, into a problem of distance. The framing specific to "Canotier rowing on the perissoire", always tight and jerky, shifts the center of gravity. Around "Canotier rowing on the perissoire", the same tight and jerky tension animates each void.
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Gustave Caillebotte
The Swimmer
"The Swimmer", in an aerial and jerky inflection, takes its title seriously. Caillebotte transforms "The Swimmer", according to this aerial and jerky cadence, into a distance problem. The framing specific to "The Swimmer", always airy and jerky, transforms the light. Around "The Swimmer", the same airy and jerky tension animates each void.
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Gustave Caillebotte
Bather preparing to dive
"Bather preparing to dive", in a frontal and jerky inflection, takes its title seriously. Caillebotte transforms "Bather preparing to dive", according to this frontal and jerky cadence, into a problem of distance. THE framing specific to "Bather preparing to dive", always frontal and jerky, frames a silent wait. Around "Bather preparing to dive", the same frontal and jerky tension animates each void.
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Gustave Caillebotte
Man wiping his leg
"Man wiping his leg", in a lateral and jerky inflection, takes his title seriously. Caillebotte transforms "Man wiping his leg", according to this lateral and jerky cadence, into a problem of distance. The framing specific to "Man wiping his leg", always lateral and jerky, gives weight every day. Around "Man wiping his leg", the same lateral and jerky tension animates each void.
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Gustave Caillebotte
Woman at her toilet
"Woman at her toilet", in a suspended and jerky inflection, takes her title seriously. Caillebotte transforms "Woman at her toilet", according to this suspended and jerky cadence, into a problem of distance. The framing specific to "Woman at her toilet her toilet", always suspended and jerky, brings together viewer and model. Around "Woman at her toilet", the same suspended and jerky tension animates each void.
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Gustave Caillebotte
Naked on a couch
"Naked on a sofa", in a precise and jerky inflection, takes its title seriously. Caillebotte transforms "Naked on a sofa", according to this precise and jerky cadence, into a distance problem. The framing specific to "Naked on a sofa" ", always precise and jerky, organizes an unstable depth. Around "Naked on a Couch", the same precise and jerky tension animates each void.
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Gustave Caillebotte
Woman sitting on red floral sofa
"Woman sitting on a sofa with red flowers", in an oblique and calm inflection, takes its title seriously. Caillebotte transforms "Woman sitting on a sofa with red flowers", according to this oblique and calm cadence, into a problem of distance. The framing specific to "Woman sitting on a sofa with red flowers", always oblique and calm, tightens the distances. Around "Woman sitting on a sofa with red flowers", the same oblique and calm tension animates each void.
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Gustave Caillebotte
The woman with roses
"The Woman with Roses", in a nervous and calm inflection, takes its title seriously. Caillebotte transforms "The Woman with Roses", according to this nervous and calm cadence, into a problem of distance. The framing specific to "The Woman with Roses" roses", always nervous and calm, accelerates the perspective. Around "The Woman with Roses", the same nervous and calm tension animates each void.
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Gustave Caillebotte
The Piano Lesson
"The Piano Lesson", in a silent and calm inflection, takes its title seriously. Caillebotte transforms "The Piano Lesson", according to this silent and calm cadence, into a problem of distance. The framing specific to "The Lesson of piano", always silent and calm, makes the voids breathe. Around "The Piano Lesson", the same silent and calm tension animates each void.
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Gustave Caillebotte
Richard Gallo and his dog at Petit Gennevilliers
"Richard Gallo and his dog at Petit Gennevilliers", in a luminous and calm inflection, takes his title seriously. Caillebotte transforms "Richard Gallo and his dog at Petit Gennevilliers", according to this luminous and calm cadence, in terms of distance. The framing specific to "Richard Gallo and his dog at Petit Gennevilliers", always luminous and calm, opposes gestures and architecture. Around "Richard Gallo and his dog at Petit Gennevilliers", the same tension luminous and calm animates each void.
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Gustave Caillebotte
Portrait of Richard Gallo
"Portrait of Richard Gallo", in a tight and calm inflection, takes its title seriously. Caillebotte transforms "Portrait of Richard Gallo", according to this tight and calm cadence, into a problem of distance. The framing specific to " Portrait of Richard Gallo", always tight and calm, shifts the center of gravity. Around "Portrait of Richard Gallo", the same tight and calm tension animates each void.
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Gustave Caillebotte
Portrait of Camille Daurelle in the Yerre garden
"Portrait of Camille Daurelle in the Yerre garden", in an aerial and calm inflection, takes its title seriously. Caillebotte transforms "Portrait of Camille Daurelle in the Yerre garden", according to this aerial cadence and posed, in terms of distance. The framing specific to "Portrait of Camille Daurelle in the Yerre garden", always airy and calm, transforms the light. Around "Portrait of Camille Daurelle in the Yerre garden", the same aerial and calm tension animates each void.
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Gustave Caillebotte
The gardeners
"The gardeners", in a frontal and calm inflection, takes its title seriously. Caillebotte transforms "The gardeners", according to this frontal and calm cadence, into a problem of distance. The framing specific to "The gardeners", always frontal and calm, frames a silent wait. Around "The Gardeners", the same frontal and calm tension animates each void.
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Gustave Caillebotte
The vegetable garden, Yerres
"The vegetable garden, Yerres", in a lateral and calm inflection, takes its title seriously. Caillebotte transforms "The vegetable garden, Yerres", according to this lateral and calm cadence, into a problem of distance. The framing specific to "The vegetable garden, Yerres", always lateral and laid, gives weight to everyday life. Around "The vegetable garden, Yerres", the same lateral and laid tension animates each void.
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Gustave Caillebotte
The Caillebotte property park in Yerres
"The park of the Caillebotte property in Yerres", in a suspended and calm inflection, takes its title seriously. Caillebotte transforms "The park of the Caillebotte property in Yerres", according to this suspended and posed cadence, into distance problem. The framing specific to "The park of the Caillebotte property in Yerres", always suspended and placed, brings together viewer and model. Around "The park of the Caillebotte property in Yerres", the same tension suspended and posed animates every void.
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Gustave Caillebotte
Banks of the Yerres
"Bords de l’Yerres", in a precise and calm inflection, takes its title seriously. Caillebotte transforms "Bords de l’Yerres", according to this precise and calm cadence, into a problem of distance. The framing specific to "Bords de l’Yerres", always precise and calm, organizes an unstable depth. Around "Bords de l’Yerres", the same precise and calm tension animates each void.
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Gustave Caillebotte
The Seine and the Argenteuil railway bridge
"The Seine and the Argenteuil railway bridge", in an oblique and vibrant inflection, takes its title seriously. Caillebotte transforms "The Seine and the Argenteuil railway bridge", according to this oblique cadence and vibrant, with distance problems. The framing specific to "The Seine and the Argenteuil railway bridge", always oblique and vibrant, tightens the distances. Around "The Seine and the Argenteuil railway bridge", the same oblique and vibrant tension animates each void.
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Gustave Caillebotte
The Argenteuil bridge and the Seine
"The Argenteuil bridge and the Seine", in a nervous and vibrant inflection, takes its title seriously. Caillebotte transforms "The Argenteuil bridge and the Seine", according to this nervous and vibrant cadence, into a problem of distance. THE framing specific to "The Argenteuil Bridge and the Seine", always nervous and vibrant, accelerates the perspective. Around "The Argenteuil Bridge and the Seine", the same nervous and vibrant tension animates each void.
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Gustave Caillebotte
Regattas in Argenteuil
"Regates in Argenteuil", in a silent and vibrant inflection, takes its title seriously. Caillebotte transforms "Regates in Argenteuil", according to this silent and vibrant cadence, into a problem of distance. The framing specific to " Regattas in Argenteuil", always silent and vibrant, makes the voids breathe. Around "Regattas in Argenteuil", the same silent and vibrant tension animates each void.
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Gustave Caillebotte
Boat at anchor on the Seine in Argenteuil
"Boat at anchor on the Seine in Argenteuil", in a luminous and vibrant inflection, takes its title seriously. Caillebotte transforms "Boat at anchor on the Seine in Argenteuil", according to this luminous and vibrant cadence, into distance problem. The framing specific to "Bateau at anchor on the Seine in Argenteuil", always luminous and vibrant, opposes gestures and architecture. Around "Bateau at anchor on the Seine in Argenteuil", the same tension luminous and vibrant animates every void.
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Gustave Caillebotte
Boats at anchor on the Seine in Argenteuil
"Boats at anchor on the Seine in Argenteuil", in a tight and vibrant inflection, takes its title seriously. Caillebotte transforms "Boats at anchor on the Seine in Argenteuil", according to this tight and vibrant cadence, in terms of distance. The framing specific to "Bateaux au anchorage sur la Seine in Argenteuil", always tight and vibrant, shifts the center of gravity. Around "Bateaux au anchorage sur la Seine in Argenteuil", the same tension tight and vibrant animates every void.
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Gustave Caillebotte
The yellow boat
"The Yellow Boat", in an aerial and vibrant inflection, takes its title seriously. Caillebotte transforms "The Yellow Boat", according to this aerial and vibrant cadence, into a distance problem. The framing specific to "The Yellow Boat" ", always aerial and vibrant, transforms the light. Around "The Yellow Boat", the same aerial and vibrant tension animates each void.
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Gustave Caillebotte
Houses in Argenteuil
"Maisons à Argenteuil", in a frontal and vibrant inflection, takes its title seriously. Caillebotte transforms "Maisons à Argenteuil", according to this frontal and vibrant cadence, into a problem of distance. The framing specific to "Maisons in Argenteuil", always frontal and vibrant, frames a silent wait. Around "Maisons à Argenteuil", the same frontal and vibrant tension animates each void.
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Gustave Caillebotte
The Gennevilliers plain
"The plain of Gennevilliers", in a lateral and vibrant inflection, takes its title seriously. Caillebotte transforms "The plain of Gennevilliers", according to this lateral and vibrant cadence, into a problem of distance. The proper framing at "La plaine de Gennevilliers", always lateral and vibrant, gives weight to everyday life. Around "La plaine de Gennevilliers", the same lateral and vibrant tension animates each void.
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Gustave Caillebotte
The Gennevilliers plain seen from the Argenteuil hillsides
"The plain of Gennevilliers seen from the hills of Argenteuil", in a suspended and vibrant inflection, takes its title seriously. Caillebotte transforms "The plain of Gennevilliers seen from the hills of Argenteuil", according to this cadence suspended and vibrant, with distance problems. The framing specific to "The plain of Gennevilliers seen from the slopes of Argenteuil", always suspended and vibrant, brings together viewer and model. Around "The plain of Gennevilliers seen from coteaux d’Argenteuil", the same suspended and vibrant tension animates each void.
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Gustave Caillebotte
The Berge du Petit Gennevilliers and the Seine
"La Berge du Petit Gennevilliers et la Seine", in a precise and vibrant inflection, takes its title seriously. Caillebotte transforms "La Berge du Petit Gennevilliers et la Seine", according to this precise and vibrant cadence, into distance problem. The framing specific to "La Berge du Petit Gennevilliers et la Seine", always precise and vibrant, organizes an unstable depth. Around "La Berge du Petit Gennevilliers et la Seine", the same precise tension and vibrant animates every void.
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Gustave Caillebotte
Bord de Seine at Petit Gennevilliers
"Bord de Seine au Petit Gennevilliers", in an oblique and dense inflection, takes its title seriously. Caillebotte transforms "Bord de Seine au Petit Gennevilliers", according to this oblique and dense cadence, into a problem of distance. THE framing specific to "Bord de Seine au Petit Gennevilliers", always oblique and dense, tightens the distances. Around "Bord de Seine au Petit Gennevilliers", the same oblique and dense tension animates each void.
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Gustave Caillebotte
Dry laundry on the banks of the Seine, Petit Gennevilliers
"Drying linen on the banks of the Seine, Petit Gennevilliers", in a nervous and dense inflection, takes its title seriously. Caillebotte transforms "Drying linen on the banks of the Seine, Petit Gennevilliers", according to this nervous cadence and dense, with distance problems. The framing specific to "Drying linen on the banks of the Seine, Petit Gennevilliers", always nervous and dense, accelerates the perspective. Around "Drying linen on the banks of the Seine, Petit Gennevilliers", the the same nervous and dense tension animates each void.
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Gustave Caillebotte
The Little Arm of the Seine in autumn
"The Little Arm of the Seine in Autumn", in a silent and dense inflection, takes its title seriously. Caillebotte transforms "The Little Arm of the Seine in Autumn", according to this silent and dense cadence, into a problem of distance. The framing specific to "Le Petit bras de la Seine in autumn", always silent and dense, makes the voids breathe. Around "Le Petit bras de la Seine in autumn", the same silent and dense tension animates each void.
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Gustave Caillebotte
The little arm of the Seine in Argenteuil
"The little arm of the Seine in Argenteuil", in a luminous and dense inflection, takes its title seriously. Caillebotte transforms "The little arm of the Seine in Argenteuil", according to this luminous and dense cadence, into a problem of distance. The framing specific to "Le petit bras de la Seine in Argenteuil", always luminous and dense, opposes gestures and architecture. Around "Le petit bras de la Seine in Argenteuil", the same luminous and dense tension animates each empty.
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Gustave Caillebotte
Wild garden at Petit Gennevilliers
"Wild Garden at Petit Gennevilliers", in a tight and dense inflection, takes its title seriously. Caillebotte transforms "Wild Garden at Petit Gennevilliers", according to this tight and dense cadence, into a problem of distance. The framing specific to "Jardin sauvage au Petit Gennevilliers", always tight and dense, shifts the center of gravity. Around "Jardin sauvage au Petit Gennevilliers", the same tight and dense tension animates each void.
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Gustave Caillebotte
Les Soleils, Petit Gennevilliers garden
"Les Soleils, jardin du Petit Gennevilliers", in an aerial and dense inflection, takes its title seriously. Caillebotte transforms "Les Soleils, jardin du Petit Gennevilliers", according to this aerial and dense cadence, into a problem of distance. The framing specific to "Les Soleils, jardin du Petit Gennevilliers", always airy and dense, transforms the light. Around "Les Soleils, jardin du Petit Gennevilliers", the same aerial and dense tension animates each void.
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Gustave Caillebotte
White and yellow chrysanthemums. Garden of Petit Gennevilliers
"White and yellow chrysanthemums. Jardin du Petit Gennevilliers", in a frontal and dense inflection, takes its title seriously. Caillebotte transforms "White and yellow chrysanthemums. Garden of Petit Gennevilliers", according to this frontal and dense cadence, with distance problems. The framing specific to "White and yellow chrysanthemums. Jardin du Petit Gennevilliers", always frontal and dense, frames a silent wait. Around "White Chrysanthemums and yellows. Jardin du Petit Gennevilliers", the same frontal and dense tension animates each void.
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Gustave Caillebotte
Dahlias, Petit Gennevilliers Garden
"Dahlias, Jardin du Petit Gennevilliers", in a lateral and dense inflection, takes its title seriously. Caillebotte transforms "Dahlias, Jardin du Petit Gennevilliers", according to this lateral and dense cadence, into a problem of distance. The framing specific to "Dahlias, Jardin du Petit Gennevilliers", always lateral and dense, gives weight to everyday life. Around "Dahlias, Jardin du Petit Gennevilliers", the same lateral and dense tension animates each void.
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Gustave Caillebotte
Blue irises, Petit Gennevilliers garden
"Blue Iris, garden of Petit Gennevilliers", in a suspended and dense inflection, takes its title seriously. Caillebotte transforms "Blue Iris, garden of Petit Gennevilliers", according to this suspended and dense cadence, into a problem of distance. The framing specific to "Iris bleus, jardin du Petit Gennevilliers", always suspended and dense, brings together viewer and model. Around "Iris bleus, jardin du Petit Gennevilliers", the same suspended and dense tension animates every void.
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Gustave Caillebotte
Roses in the garden at Petit Gennevilliers
"Roses in the garden at Petit Gennevilliers", in a precise and dense inflection, takes its title seriously. Caillebotte transforms "Roses in the garden at Petit Gennevilliers", according to this precise and dense cadence, into a problem of distance. The framing specific to "Roses in the garden at Petit Gennevilliers", always precise and dense, organizes an unstable depth. Around "Roses in the garden at Petit Gennevilliers", the same precise and dense tension animates every void.
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Gustave Caillebotte
Daisy bed
"Parterre de daisies", in an oblique and flexible inflection, takes its title seriously. Caillebotte transforms "Parterre de daisies", according to this oblique and flexible cadence, into a problem of distance. The framing specific to " Parterre de daisies", always oblique and flexible, tightens the distances. Around "Parterre de daisies", the same oblique and flexible tension animates each void.
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Gustave Caillebotte
Massif of flowers, Petit Gennevilliers garden
"Flower massif, Petit Gennevilliers garden", in a nervous and supple inflection, takes its title seriously. Caillebotte transforms "Flower massif, Petit Gennevilliers garden", according to this nervous and supple cadence, into distance problem. The framing specific to "Massif de fleurs, jardin du Petit Gennevilliers", always nervous and flexible, accelerates the perspective. Around "Massif de fleurs, jardin du Petit Gennevilliers", the same nervous tension and flexible animates every void.
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Gustave Caillebotte
Flowering tree
"Tree in Flowers", in a silent and supple inflection, takes its title seriously. Caillebotte transforms "Tree in Flowers", according to this silent and supple cadence, into a problem of distance. The framing specific to "Tree in Flowers" ", always silent and supple, makes the voids breathe. Around "Tree in Flowers", the same silent and supple tension animates each void.
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Gustave Caillebotte
Apple tree in bloom
"Apple tree in bloom", in a luminous and supple inflection, takes its title seriously. Caillebotte transforms "Apple tree in bloom", according to this luminous and supple cadence, into a problem of distance. The framing specific to "Apple tree in flowers", always luminous and supple, opposes gestures and architecture. Around "Apple Tree in Flowers", the same luminous and supple tension animates each void.
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Gustave Caillebotte
Allée de la Villa des Fleurs in Trouville
"Allée de la Villa des Fleurs in Trouville", in a tight and flexible inflection, takes its title seriously. Caillebotte transforms "Allée de la Villa des Fleurs in Trouville", according to this tight and flexible cadence, into a problem of distance. The framing specific to "Allée de la Villa des Fleurs in Trouville", always tight and flexible, shifts the center of gravity. Around "Allée de la Villa des Fleurs in Trouville", the same tight and flexible tension animates each empty.
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Gustave Caillebotte
Garden in Trouville
"Jardin à Trouville", in an aerial and flexible inflection, takes its title seriously. Caillebotte transforms "Jardin à Trouville", according to this aerial and flexible cadence, into a problem of distance. The framing specific to "Garden to Trouville", always airy and supple, transforms light. Around "Jardin à Trouville", the same aerial and supple tension animates each void.
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Gustave Caillebotte
A garden in Trouville
"A garden in Trouville", in a frontal and flexible inflection, takes its title seriously. Caillebotte transforms "A garden in Trouville", according to this frontal and flexible cadence, into a problem of distance. The framing specific to "A garden in Trouville", always frontal and flexible, frames a silent wait. Around "A garden in Trouville", the same frontal and flexible tension animates each void.
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Gustave Caillebotte
Cliff in Normandy
"Falaise en Normandie", in a lateral and flexible inflection, takes its title seriously. Caillebotte transforms "Falaise en Normandie", according to this lateral and flexible cadence, into a distance problem. The framing specific to "Falaise en Normandie" Normandy", always lateral and flexible, gives weight to everyday life. Around "Falaise en Normandie", the same lateral and flexible tension animates each void.
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Gustave Caillebotte
Father Magloire on the way from Saint-Clair to Étretat
"Father Magloire on the path from Saint-Clair to Étretat", in a suspended and flexible inflection, takes his title seriously. Caillebotte transforms "Father Magloire on the path from Saint-Clair to Étretat", according to this cadence suspended and flexible, with distance problems. The framing specific to "Father Magloire on the path from Saint-Clair to Étretat", always suspended and flexible, brings together viewer and model. Around "Father Magloire on the path to Saint-Clair in Étretat", the same suspended and flexible tension animates each void.
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Gustave Caillebotte
Father Magloire lying in a wood
"Father Magloire lying in a wood", in a precise and flexible inflection, takes his title seriously. Caillebotte transforms "Father Magloire lying in a wood", according to this precise and flexible cadence, into a problem of distance. The framing specific to "Father Magloire lying in a wood", always precise and flexible, organizes an unstable depth. Around "Father Magloire lying in a wood", the same precise and flexible tension animates each void.
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Gustave Caillebotte
An estuary of the Seine
"An estuary of the Seine", in an oblique and stable inflection, takes its title seriously. Caillebotte transforms "An estuary of the Seine", according to this oblique and stable cadence, into a problem of distance. The framing specific to "One estuary of the Seine", always oblique and stable, narrows the distances. Around "A Seine estuary", the same oblique and stable tension animates each void.
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Gustave Caillebotte
Canal edge, near Naples
"Canal edge, near Naples", in a nervous and stable inflection, takes its title seriously. Caillebotte transforms "Canal edge, near Naples", according to this nervous and stable cadence, into a problem of distance. Framing specific to "Canal Edge, Near Naples", always nervous and stable, accelerates the perspective. Around "Canal Edge, Near Naples", the same nervous and stable tension animates each void.
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Gustave Caillebotte
Landscape with railway tracks
"Landscape with railway tracks", in a silent and stable inflection, takes its title seriously. Caillebotte transforms "Landscape with railway tracks", according to this silent and stable cadence, into a problem of distance. Framing specific to "Landscape with railway tracks", always silent and stable, makes the voids breathe. Around "Landscape with railway tracks", the same silent and stable tension animates each void.
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Gustave Caillebotte
Uphill
"Rising path", in a luminous and stable inflection, takes its title seriously. Caillebotte transforms "Rising path", according to this luminous and stable cadence, into a distance problem. The framing specific to "Rising path", always luminous and stable, opposes gestures and architecture. Around "Rising Path", the same luminous and stable tension animates each void.
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Gustave Caillebotte
The hillside of Colombes
"Le coteau de Colombes", in a tight and stable inflection, takes its title seriously. Caillebotte transforms "Le coteau de Colombes", according to this tight and stable cadence, into a problem of distance. The framing specific to "The coteau de Colombes", always tight and stable, shifts the center of gravity. Around "Le Coteau de Colombes", the same tight and stable tension animates each void.
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Gustave Caillebotte
Marly's machine
"La machine de Marly", in an aerial and stable inflection, takes its title seriously. Caillebotte transforms "La machine de Marly", according to this aerial and stable cadence, into a distance problem. The framing specific to "The machine of Marly", always aerial and stable, transforms light. Around "Marly’s Machine", the same aerial and stable tension animates each void.
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Gustave Caillebotte
Still life with crayfish
"Still life with crayfish", in a frontal and stable inflection, takes its title seriously. Caillebotte transforms "Still life with crayfish", according to this frontal and stable cadence, into a problem of distance. The framing specific to "Still life with crayfish", always frontal and stable, frames a silent wait. Around "Still life with crayfish", the same frontal and stable tension animates each void.
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Gustave Caillebotte
Veal head and beef tongue
"Calf's head and beef tongue", in a lateral and stable inflection, takes its title seriously. Caillebotte transforms "Calf's head and beef tongue", according to this lateral and stable cadence, into a distance problem. Framing specific to "Calf's head and beef tongue", always lateral and stable, gives weight on a daily basis. Around "Calf's head and beef tongue", the same lateral and stable tension animates each void.
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Gustave Caillebotte
Fruits presented on a display
"Fruits presented on a display", in a suspended and stable inflection, takes its title seriously. Caillebotte transforms "Fruits presented on a display", according to this suspended and stable cadence, into a distance problem. THE framing specific to "Fruits presented on a display", always suspended and stable, brings together viewer and model. Around "Fruits presented on a display", the same suspended and stable tension animates each void.
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Gustave Caillebotte
Game birds and lemons
"Feathered game and lemons", in a precise and stable inflection, takes its title seriously. Caillebotte transforms "Feathered game and lemons", according to this precise and stable cadence, into a distance problem. The framing specific to " Game birds with feathers and lemons", always precise and stable, organize an unstable depth. Around "Game birds with feathers and lemons", the same precise and stable tension animates each void.
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Gustave Caillebotte
Two Partridges
"Deux Perdreaux", in an oblique and open inflection, takes its title seriously. Caillebotte transforms "Deux Perdreaux", according to this oblique and open cadence, into a distance problem. The framing specific to "Deux Perdreaux", always oblique and open, tightens distances. Around "Deux Perdreaux", the same oblique and open tension animates each void.
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Gustave Caillebotte
Bouquet of roses in a crystal vase
"Bouquet of roses in a crystal vase", in a nervous and open inflection, takes its title seriously. Caillebotte transforms "Bouquet of roses in a crystal vase", according to this nervous and open cadence, into a problem of distance. The framing specific to "Bouquet of roses in a crystal vase", always nervous and open, accelerates the perspective. Around "Bouquet of roses in a crystal vase", the same nervous and open tension animates each empty.
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Gustave Caillebotte
Yellow and red roses in a crystal vase
"Yellow and red roses in a crystal vase", in a silent and open inflection, takes its title seriously. Caillebotte transforms "Yellow and red roses in a crystal vase", according to this silent cadence and open, in problem of distance. The framing specific to "Yellow and red roses in a crystal vase", always silent and open, makes the voids breathe. Around "Yellow and red roses in a crystal vase", the same silent and open tension animates every void.
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Gustave Caillebotte
Bouquet of daisies, nasturtiums and suns in a vase
"Bouquet of daisies, nasturtiums and suns in a vase", in a luminous and open inflection, takes its title seriously. Caillebotte transforms "Bouquet of daisies, nasturtiums and suns in a vase", according to this cadence bright and open, with distance problems. The framing specific to "Bouquet of daisies, nasturtiums and suns in a vase", always luminous and open, opposes gestures and architecture. Around "Bouquet of daisies, nasturtiums and suns in a vase", the same luminous and open tension animates each void.
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Gustave Caillebotte
Lilacs and peonies in two vases
"Lilacs and peonies in two vases", in a tight and open inflection, takes its title seriously. Caillebotte transforms "Lilacs and peonies in two vases", according to this tight and open cadence, into a problem of distance. THE framing specific to "Lilacs and peonies in two vases", always tightened and open, shifts the center of gravity. Around "Lilacs and peonies in two vases", the same tightened and open tension animates each void.
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Gustave Caillebotte
Portrait of Jules Dubois
"Portrait of Jules Dubois", in an aerial and open inflection, takes its title seriously. Caillebotte transforms "Portrait of Jules Dubois", according to this aerial and open cadence, into a problem of distance. The framing specific to " Portrait of Jules Dubois", always aerial and open, transforms the light. Around "Portrait of Jules Dubois", the same aerial and open tension animates each void.
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Gustave Caillebotte
Portrait of Jean Daurelle in full length
"Portrait of Jean Daurelle in full length", in a frontal and open inflection, takes its title seriously. Caillebotte transforms "Portrait of Jean Daurelle in full length", according to this frontal and open cadence, into a problem of distance. THE framing specific to "Portrait of Jean Daurelle in full length", always frontal and open, frames a silent wait. Around "Portrait of Jean Daurelle in full length", the same frontal and open tension animates each void.
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Gustave Caillebotte
Portrait of Maurice Hugot, child
"Portrait of Maurice Hugot, child", in a lateral and open inflection, takes its title seriously. Caillebotte transforms "Portrait of Maurice Hugot, child", according to this lateral and open cadence, into a problem of distance. THE framing specific to "Portrait of Maurice Hugot, child", always lateral and open, gives weight to everyday life. Around "Portrait of Maurice Hugot, child", the same lateral and open tension animates each void.
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Gustave Caillebotte
Portrait of Émile-Jean Fontaine, librarian
"Portrait of Émile-Jean Fontaine, librarian", in a suspended and open inflection, takes its title seriously. Caillebotte transforms "Portrait of Émile-Jean Fontaine, librarian", according to this suspended and open cadence, in terms of distance. The framing specific to "Portrait of Émile-Jean Fontaine, librarian", always suspended and open, brings together viewer and model. Around "Portrait of Émile-Jean Fontaine, librarian", the same tension suspended and open animates every void.
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Gustave Caillebotte
Miss Boissière Knitting
"Mademoiselle Boissière Tricot", in a precise and open inflection, takes its title seriously. Caillebotte transforms "Mademoiselle Boissière Tricot", according to this precise and open cadence, into a problem of distance. Framing specific to "Mademoiselle Boissière Tricot", always precise and open, organizes an unstable depth. Around "Mademoiselle Boissière Tricot", the same precise and open tension animates each void.
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