Gustave Caillebotte, 1877 - Paris Street; Rainy Day - fine art print

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This 19th century artwork was created by the artist Gustave Caillebotte in 1877. The 140 year old painting has the following size: 212,2 × 276,2 cm (83 1/2 × 108 3/4 in) and was manufactured with oil on canvas. The painting has the following inscription: inscribed at lower left: G. Caillebotte. 1877. Nowadays, this artwork forms part of the collection of Art Institute Chicago, which is one of the world’s great art museums, housing a collection that spans centuries and the globe. This modern art public domain artpiece is being supplied with courtesy of Art Institute Chicago. The creditline of the artwork is: Charles H. and Mary F. S. Worcester Collection. In addition to that, the alignment is landscape and has an aspect ratio of 4 : 3, which implies that the length is 33% longer than the width. Gustave Caillebotte was a male lawyer, engineer, sailor, painter, philatelist, marine architect, art collector, patron of the arts from France, whose art style was mainly Impressionism. The Impressionist artist lived for a total of 46 years and was born in 1848 and died in the year 1894.

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In the dropdown menu right next to the product offering you can pick the material and size of your choice. Thus, we allow you to choose among the following options:

• The acrylic glass print: A glossy acrylic glass print, which is often named as a print on plexiglass, will transform your favorite original artwork into beautiful décor. The artwork is made thanks to state-of-the-art UV direct print machines. This creates the image effect of impressive, rich color tones.
• Printed poster (canvas material): The poster print is a printed canvas with a nice surface texture. The print poster is suited for framing the fine art print with a customized frame. Please keep in mind, that depending on the size of the poster we add a white margin of approximately 2-6cm round about the print in order to facilitate the framing with your custom frame.
• Canvas: The canvas print is a printed canvas stretched on a wood stretcher. A canvas generates the extra effect of three dimensionality. Also, a printed canvas makes a cosy and comfortable effect. The great advantage of canvas prints is that they are relatively low in weight, meaning that it is quite simple to hang your Canvas print without extra wall-mounts. Canvas prints are suited for any type of wall.
• Aluminium dibond print (metal): These are metal prints on aluminium dibond with an impressive effect of depth, which creates a modern impression thanks to a surface , which is not reflective. Colors are luminous and vivid in the highest definition, details of the print appear clear and crisp, and the print has a a matte look that you can literally feel.

Important note: We try everything to describe our art products as accurately as possible and to demonstrate them visually on the different product detail pages. Nonetheless, the colors of the print materials, as well as the imprint may diverge slightly from the representation on your monitor. Depending on the screen settings and the condition of the surface, not all colors will be printed as realisitcally as the digital version depicted here. Because all are printed and processed manually, there may also be slight deviations in the motif's exact position and the size.

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Additional artwork information from Art Institute Chicago (© Copyright - Art Institute Chicago - Art Institute Chicago)

This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris. Gustave Caillebotte grew up near this district when it was a relatively unsettled hill with narrow, crooked streets. As part of a new city plan designed by Baron Georges-Eugène Haussmann, these streets were relaid and their buildings razed during the artist’s lifetime. In this monumental urban view, which measures almost seven by ten feet and is considered the artist’s masterpiece, Caillebotte strikingly captured a vast, stark modernity, complete with life-size figures strolling in the foreground and wearing the latest fashions. The painting’s highly crafted surface, rigorous perspective, and grand scale pleased Parisian audiences accustomed to the academic aesthetic of the official Salon. On the other hand, its asymmetrical composition, unusually cropped forms, rain-washed mood, and candidly contemporary subject stimulated a more radical sensibility. For these reasons, the painting dominated the celebrated Impressionist exhibition of 1877, largely organized by the artist himself. In many ways, Caillebotte’s frozen poetry of the Parisian bourgeoisie prefigures Georges Seurat’s luminous Sunday on La Grande Jatte—1884, painted less than a decade later.