Relevant bibliographies by topics / Caillebotte

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Caillebotte'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Caillebotte"

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McKiernan, M. "Gustave Caillebotte The House Painters 1877." Occupational Medicine 62, no. 1 (2011): 2–3. http://dx.doi.org/10.1093/occmed/kqr194.

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Cutting, James E. "Gustave Caillebotte, French Impressionism, and mere exposure." Psychonomic Bulletin & Review 10, no. 2 (2003): 319–43. http://dx.doi.org/10.3758/bf03196493.

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Kessler, Marni. "Filters and Pathologies: Caillebotte and Manet in Haussmann’s Paris1." Nineteenth-Century Contexts 27, no. 3 (2005): 245–68. http://dx.doi.org/10.1080/08905490500416062.

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Walter, Philippe, Philippe Sarrazin, Marc Gailhanou, Dominique Hérouard, Antoine Verney, and David Blake. "Full‐field XRF instrument for cultural heritage: Application to the study of a Caillebotte painting." X-Ray Spectrometry 48, no. 4 (2018): 274–81. http://dx.doi.org/10.1002/xrs.2841.

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Higonnet, Anne. "Caillebotte Paintings and Drawings at the Art Institute of Chicago, edited by Gloria Groom and Genevieve Westerby." Art Bulletin 99, no. 2 (2017): 196–98. http://dx.doi.org/10.1080/00043079.2017.1304659.

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Dodworth, Cameron. "Impressions on the Evolution of Naturalism: Interiority, Exteriority, and the International/Interdisciplinary Nature of Naturalism." Humanities 8, no. 3 (2019): 128. http://dx.doi.org/10.3390/h8030128.

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Naturalism, as a movement and genre, was heavily influenced by the work of Émile Zola, particularly by his essay, Le roman expérimental (1880). However, despite Zola’s strong influence, Naturalism was also significantly influenced by the ideas of others that go beyond and even predate those of Zola. As a result, Naturalism is generally accepted as having originated in France in the late 19th century, and having extended into the early 20th century, however it soon became an international as well as an interdisciplinary movement and genre. More specific examples of this international and interdisciplinary network of Naturalism can be seen in the writing of Zola, Joris-Karl Husymans, and Oscar Wilde, as well as the painting of Cécile Douard, Vincent van Gogh, Gustave Caillebotte, and Claude Monet. Furthermore, these examples reveal that Naturalism evolved into a more interior branch, as well as a more exterior branch, and they also reveal some strong evolutionary links between not only Naturalism and Impressionism, but also between Naturalism and Decadence/Aestheticism. These latter links have seen little discussion in relation to Naturalism, particularly on the basis of the roles that interiority and exteriority play in the international and interdisciplinary expressions of Naturalism.
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Fried, Michael. "Caillebotte's Impressionism." Representations 66 (1999): 1–51. http://dx.doi.org/10.2307/2902878.

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Fried, Michael. "Caillebotte's Impressionism." Representations 66, no. 1 (1999): 1–51. http://dx.doi.org/10.1525/rep.1999.66.1.01p0038t.

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BONNEAU, M., J. Y. DOURMAD, J. C. GERMON, et al. "Connaissance des émissions gazeuses dans les différentes filières de gestion des effluents porcins." INRAE Productions Animales 21, no. 4 (2008): 345–60. http://dx.doi.org/10.20870/productions-animales.2008.21.4.3410.

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Cet article résume les apports du programme «Porcherie verte» dans la connaissance et la maîtrise des émissions gazeuses intervenant lors des différentes phases de l’élevage porcin. Ces émissions comprennent des gaz à effet de serre, particulièrement le méthane (CH4) et le protoxyde d’azote (N2O), ainsi que l’ammoniac (NH3), nocif pour les animaux et pour l’homme et qui a un impact sur l’environnement en termes d’acidification et d’eutrophisation. Les émissions de NH3 ont été modélisées pour le cas des bâtiments d’élevage sur caillebottis. Ces émissions peuvent être réduites en diminuant la teneur en protéines de l’aliment distribué aux animaux ou en renouvelant fréquemment le lisier dans les bâtiments. Le traitement biologique du lisier permet aussi de réduire ces émissions, surtout en l’absence de séparation de phases. Le brassage du lisier dans les fosses de stockage les favorise au contraire. Les émissions de NH3 varient fortement en fonction du substrat utilisé pour la litière et de son mode de conduite. Pendant le compostage, elles dépendent aussi fortement des caractéristiques initiales du substrat composté, mais aussi de la technique utilisée. Les émissions de N2O sont en général plus élevées avec de la litière que sur caillebotis, mais il y a de très fortes variations en fonction de son mode de conduite. Le compostage peut aussi conduire à des émissions de N2O, tout particulièrement s’il est pratiqué en couche mince. Lors du traitement biologique des lisiers, ces émissions sont assez faibles mais dépendent de la technique d’aération utilisée. Dans le sol, les émissions de N2O ne sont pas plus importantes après apports d’effluents animaux qu’après apports de fertilisants minéraux et restent difficiles à quantifier. Les émissions de CH4 sont plus faibles sur litière que sur caillebotis. Elles sont faibles également lors du compostage, sauf s’il est réalisé en couche mince. Le traitement biologique du lisier conduit à une forte réduction des émissions par rapport à un simple stockage. Les litières et le compostage ont une excellente image de marque auprès du grand public et sont souvent réputées avoir beaucoup moins d’impact sur l’environnement que le lisier. Nous avons pu montrer cependant qu’elles génèrent en général davantage de gaz à effet de serre, que ce soit de façon directe (émissions de N2O) ou indirecte (gaspillage de fertilisants azotés dont la synthèse est très «énergivore»), et ce d’autant plus que l’on cherche à rogner sur les coûts en augmentant la densité animale ou en diminuant la quantité de paille utilisée comme substrat de compostage. De même, le traitement biologique du lisier, qui semble à première vue avoir un impact favorable puisqu’il conduit à réduire les émissions de NH3 sans trop relarguer de N2O, a en fait un bilan environnemental très défavorable du fait qu’il est très énergivore aussi bien directement qu’indirectement (gaspillage de fertilisants). On a là un double transfert de pollution, du sol et de l’eau vers l’atmosphère d’une part, et de l’exploitation vers l’extérieur de l’exploitation d’autre part.
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Deutsch, Allison. "The Flesh of Painting: Caillebotte’s Modern Olympia." Dix-Neuf 22, no. 1-2 (2017): 1–22. http://dx.doi.org/10.1080/14787318.2017.1381371.

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Dissertations / Theses on the topic "Caillebotte"

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Gingras, Roxanne. "Gustave Caillebotte : vues sur le Paris moderne : 1876 et 1880." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26880.

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Ce mémoire prend pour objet l'étude des vues du Paris moderne par Gustave Caillebotte. Son engagement profond dans la réalité vécue le conduit vers une fascination particulière pour la reproduction de l'image urbaine. Entre 1876 et 1880, l'artiste déambule dans les rues et les boulevards en vue d'exécuter des traitements picturaux originaux et peindre des visions singulières, par rapport à sa propre production artistique de même qu'à celle de ses confrères impressionnistes. En raison des différents points de vue traités dans l'espace urbain, sa perception de la ville semble, à notre avis, évolutive. Que ce soit depuis la rue ou en hauteur, Caillebotte reproduit Paris telle qu'elle se présente devant lui ; c'est ce qui paraît le guider dans sa recherche. Si bien que notre travail consiste à démontrer qu'il est un peintre de la ville moderne. Par l'analyse de trois points de vue privilégiés (dans la rue, à la fenêtre et au balcon), remarqués à la fois dans son corpus et dans sa démarche, cette recherche veut montrer comment l'artiste perçoit l'urbanité moderne et comment il la rend. Nous observons qu'une adéquation entre les moyens plastiques modernes utilisés et l'intérêt de représenter la réalité elle-même moderne, traduit son processus créatif. Apporter des arguments au sujet de son étude des vues de ville, permet aujourd'hui de mieux cerner le travail unique de Gustave Caillebotte dans le paysage urbain.
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Lund, Anna-Therese. "Gustave Caillebotte och hans nakna män : En normkritisk analys av den manliga blicken." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-447706.

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During the 19th century, France was a cultural stronghold filled with political aspects and dreams. Art flourished and the ancient heroic ideals had shaped the male nude art for many years. But new times would come and change the artistic basis forever. The start of Impressionism also became the beginning of a new era, where gender roles began to be questioned and the image of masculinity began to falter. An artistic revolution saw the light of day, artists no longer wanted to follow the traditional rules and normative footprints that had been put in the ground long before their days. Gustave Caillebotte, a young rich art collector and a dear friend of the impressionistic circle started to paint just for fun, without knowing that his name would echo over the world more than a century after his death. Male nude art was strictly marginalized during the 19th century, but Caillebotte would be one of the first artists who dared to defy the traditional rules. The purpose of the essay is to get a better idea of the norms that influenced French oil painting during the 19th century and how the artist Gustave Caillebotte related to the classical image convention with his two works Man in the Bath and Man Wipes His Leg. The essay will delve into an analysis of these two motifs and examine how they challenged the heteronormative gaze, also called the male gaze, before the essay concludes with an empirical result.
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Lehman, Erin Lizabeth. "ART AND THE SPORTSMAN, SPORTING ART AND THE MAN: GUSTAVE CAILLEBOTTE AND THE LATE NINETEENTH-CENTURY MALE BODY." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/288857.

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Art History
Ph.D.
This dissertation focuses primarily on the Impressionist artist Gustave Caillebotte's paintings of rowers on the Yerres River outside Paris, created in the late 1870s. The works engage with many of the radical shifts in social and cultural norms that took place during the latter half of the nineteenth-century as industrialization and urbanization increasingly affected daily life in Europe and America. The paintings are in dialogue with developments in the fine arts, including the growing influence of Impressionism and avant-garde artists, and deal extensively with the male figure, reacting to and engaging with changing norms of masculinity. To fully examine the works, I focus on five areas of comparison. First, in considering the possible implications of changing masculine ideals in relation to the physical body during the period, I consider Caillebotte's controversial nude male bathers. I then contrast Caillebotte's oarsmen with both the professional rowers portrayed by his American contemporary Thomas Eakins, and the more leisurely boating scenes of his fellow Impressionists. Finally, I examine the history of the dandy/flâneurs figure, arguing that Caillebotte's rowers illustrate the artist's attempt to reinvent and modernize the concept. My thesis attempts to bridge different methodological approaches that have tended to isolate aspects of the artist's work, thereby obscuring his overall project of engaging with both the social and theoretical concept of modernity. Although the artist is underrepresented in the general literature of Impressionism, he has lately played a significant role in texts examining Impressionist interest in the suburban vacation spots along the Seine River. Such authors have illuminated Caillebotte's background as a serious sportsman, an aspect of the artist previously underexplored. I also build on feminist and queer theorists, who in recent years have called attention to the potential for sexual subversity within Caillebotte's oeuvre. Although acknowledging a debt to all of these scholars, my dissertation is an attempt to expand the scholarly conversation by examining how these works explore the concept of modernity, both formally, in the manner in which Caillebotte calls attention to the artifice of painting and socially, in how he engages with the changing physical landscape and the increasing potential for leisure activities outside Paris following the Franco-Prussian War. Finally, in arguing that Caillebotte rowers are transported flâneurs, who, though now engaged in daytime paddling rather than evening strolling, continue their mission of anonymity and observation, I suggest an expansion of the very definition of flâneurs, and by extension, the dandy figure that remains relevant as a type even today.
Temple University--Theses
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DE, OLIVEIRA PAULO ARMANDO V. "Comparaison des systemes d'elevage des porcs sur litiere de sciure ou caillebotis integral." Rennes, Agrocampus Ouest, 1999. http://www.theses.fr/1999NSARD032.

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Trouver un mode de gestion approprie des dejections devient un probleme crucial dans les zones de production intensive de porcs, en raison d'une part, des risques de pollution par les nitrates et les emissions d'ammoniac et d'autre part, du cout et des difficultes de stockage, transport, traitement et epandage de ces dejections. Le systeme d'elevage sur litiere realise un compostage precoce des dejections in situ. Il induit une modification des flux d'energie et de gaz emis par le milieu et des exigences climatiques de l'animal (deplacement de la zone de neutralite thermique et des conditions extremes de survie). En consequence les connaissances acquises dans les elevages sur caillebotis doivent etre adaptees aux conditions particulieres des systemes de production sur litieres fermentantes. Cette etude comporte deux objectifs principaux. Le premier est de comparer les systemes d'elevage de porcs sur caillebotis integral ou sur litiere de sciure en termes d'effets sur les performances zootechniques, les emissions de gaz, le comportement, les concentrations en poussieres et les lesions de l'appareil respiratoire et de l'estomac. Le deuxieme objectif est de comparer les emissions de chaleur et de vapeur d'eau des elevages realises sur des litieres fermentantes aux resultats de modeles mis au points sur caillebotis integral, pour permettre de proposer des modeles prenant en compte les phenomenes de fermentation de la litiere. La connaissance des emissions de chaleur et de temperatures critiques de fonctionnement est indispensable a la formulation de recommandations constructives pour les batiments d'elevage. La premiere partie de ce memoire decrit les effets du milieu d'elevage, generes par les systemes caillebotis ou litiere, sur les performances zootechniques des animaux et les emissions de gaz (nh 3 et co 2). Nous n'avons pas trouve de difference significative sur les performances des animaux. Nous avons mis en evidence l'effet possible du comportement des animaux sur les productions de chaleur et l'emission de gaz. Cette partie comporte egalement une etude comparative des concentrations en poussieres entre les systemes d'elevage et la comparaison des lesions de l'appareil respiratoire et des estomacs. La deuxieme partie presente un ensemble d'experimentations qui nous ont permis de determiner experimentalement l'effet specifique du mode d'elevage (litiere ou caillebotis), l'effet de la temperature d'ambiance et l'effet de differentes litieres, sur les emissions de chaleur et de vapeur d'eau en nous affranchissant des effets du batiment, des animaux ou du climat exterieur. Nous y presentons les principaux modeles mathematiques de simulation des flux de chaleur en systemes d'elevage des porcs. Nous proposons une temperature critique inferieure pour la conduite conjointe des animaux et de la litiere. Nous y proposons egalement une methode d'estimation des differents flux et stocks d'eau a l'interieur de l'enceinte d'elevage. Cette methode est validee par le bilan de masse sur la cellule caillebotis.
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Clark, Alexis. "A Republic of the Arts: Constructing Nineteenth-Century Art History at the Musée national du Luxembourg, 1871-1914." Diss., 2014. http://hdl.handle.net/10161/8660.

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Before the rise of the ubiquitous MOCA (museum of contemporary) there was the Musée national du Luxembourg that since its foundation in 1818, served as the first museum anywhere dedicated to contemporary art. Yet the Luxembourg has been left to lurk in the shadows of art history. Best remembered for its mismanagement of the Caillebotte Bequest (1894-1897) that left the French state as the beneficiary of several dozen Impressionist canvases, the Luxembourg has been dismissed as epitomizing official support for an exhausted academicism.

This dissertation has sought to correct these misconceptions of the museum and the Third Republic Fine Arts administration. It provides an institutional history of the museum under the early Third Republic (1871-1914) that reconsiders how different interpretations of republicanism informed its curators' policies and practices. Information culled from archives, official publications, art criticism, and even tourist brochures, has revealed that in the 1890s and especially the 1900s, the museum's curators embraced the politics of solidarism. Applying solidarist principles such as eclecticism, tolerance, and commitment to public education, its curators defended their acquisition of both avant-garde and academic works of art. These principles further spurred curators to trace the spectrum of contemporary painterly styles to French artist tradition. In so doing, the Luxembourg's administrators implicitly upheld republicanism as a characteristically, even classically, French ideology that, in its translation into paint and institutional policies, testified to the nation's continued cultural, artistic, and political supremacy.


Dissertation
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Jan, Nai-Yu, and 詹乃毓. "Gustave Caillebotte’s Paintings in 1875–77 and the Works’ Artistic Reception." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/91288794574221435410.

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碩士
國立臺灣師範大學
藝術史研究所
103
This study proposes an analysis of Gustave Caillebotte’s (1848–94) major works in the second half of the 1870s and the works’ artistic receptions by other European artists. For this master thesis, I have chosen Caillebotte’s three major works – The Floor Scrapers of 1875 (Paris, Musée d’Orsay), The Pont de l’Europe of 1876 (Geneva, Musée du Petit Palais), and Paris Street; Rainy Day of 1877 (Art Institute of Chicago) – to discuss the reception of Caillebotte’s art, because these are his most representative and influential works which show unique perspectives towards the cityscapes in nineteenth-century Paris under Baron Haussmann’s (1809–1891) renovation. The survey begins with an analysis of Caillebotte’s three pictures and the discourse on them in contemporary art criticism with the goal to find out which of the paintings’ features were appraised or condemned by contemporary viewers. In The Floor Scrapers, Caillebotte develops a characteristic style concerning both content and form which categorically differ from the artistic goals of his Impressionist colleagues at that time. Many of Caillebotte’s French Impressionist colleagues like to make landscape paintings and render them with loose brushstrokes, such as Claude Monet (1840–1926) and Camille Pissarro (1830–1903), or some other colleagues favor the subjects of bourgeois women, such as Pierre-Auguste Renoir (1841–1919). When Floor Scrapers was shown at the first Impressionist Exhibition in 1876, Caillebotte impressed the contemporary audience because this work presents an unusual subject – the urban laborers, and an uncommon Impressionist style with meticulous brushstrokes and smoothly painted surface. Caillebotte’s other two iconic works, The Pont de l’Europe and Paris Street; Rainy Day are unique representations of the city life in Paris. His use of asymmetrical composition, multiple-point perspective, bold cropping of the scene and figures is quite untypical amongst his contemporaries. When presented at the second Impressionist Exhibition in 1877, the two works attracted many critics’ attention; most of them were amazed at Caillebotte’s boldness composition and meticulous brushstrokes. To discuss what makes Caillebotte’s three major works untypical amongst his contemporary Impressionists, and how are the contemporary artists’ responses to Caillebotte’s art, I will compare his method of composition with some works by the following artists: the Belgians Fernand Khnopff (1858–1921) and James Ensor (1860–1949), Norwegians Edvard Munch (1863–1944) and Christian Krohg (1852–1925), the Italians Angelo Morbelli (1853–1919) and Mario de Maria (1852–1924). I choose the six artists because some of their works have occasionally been mentioned in the research on the similarities between Caillebotte’s and his contemporaries’ works. In order to develop and support my argument of the artistic reception of Caillebotte’s works by the six contemporaries, I first verify their possible opportunities to learn Caillebotte’s art in Paris. From their biographies, the six artists did pay visits to Paris in the nineteenth-century when the French Impressionists, including Caillebotte’s, were popular and influential in Europe. In the next step, I discuss the similarities between some paintings produced by the six artists either during or after their visits to Paris and Caillebotte’s three major works, because the compositions and styles appear to be indebted to Caillebotte’s art. First of all, the case study on Belgian artists’ response begins with an analysis of a work by the Belgian Symbolist Fernand Khnopff, as its composition reveals a close association with Caillebotte’s Paris Street; Rainy Day. Another case study is the comparison of James Ensor and Caillebotte’s city scenes. Second, the compositional relationships between two paintings by Norwegian Naturalist painter Christian Krohg and Caillebotte’s canvases are examined. The street scenes by Edvard Munch and Caillebotte will be compared in terms of their compositional similarities. In addition, the similarities and differences between how Caillebotte employs space in The Pont de l’Europe and Munch does in The Scream (Oslo, Nasjonalmuseet) are investigated. Last, the response to Caillebotte’s style by a group of Italian artists, who sojourned in late-nineteenth-century Paris, is considered. The case study begins with a series of paintings named The Poem of Old Age (Il poema della vecchiaia) executed by the Italian Divisionist Angelo Morbelli. Then, several views of Paris depicted by Bolognese painter Mario de Maria are checked.
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Books on the topic "Caillebotte"

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1848-1894, Caillebotte Gustave, ed. Caillebotte. Flammarion, 1994.

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Caillebotte, Gustave. Caillebotte. Editions Faton, 1994.

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Darragon, Éric. Gustave Caillebotte. Bonfini, 1994.

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Varnedoe, Kirk. Gustave Caillebotte. Yale University Press, 1987.

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1848-1894, Caillebotte Gustave, ed. Gustave Caillebotte. Yale University Press, 1987.

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Caillebotte, Gustave. Gustave Caillebotte. Hatje Cantz, 2008.

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Caillebotte, Gustave. Les dessins de Caillebotte. Hermé, 1989.

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Caillebotte, Gustave. Caillebotte, au cœur de l'impressionisme. Bibliothèque des arts, 2005.

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Caillebotte, Gustave. Gustave Caillebotte, the unknown impressionist. Royal Academy of Arts, in association with Ludion Press, Ghent, 1996.

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(Exhibition), Gustave Caillebotte :. The Unknown Impressionist. Gustave Caillebotte : The unknown impressionist. Royal Academy of Arts in association with Ludion Press, Ghent, 1996.

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Book chapters on the topic "Caillebotte"

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König, Hans-Dieter. "Der Bürger, der Hund und die Brücke aus Stahl. Tiefenhermeneutische Rekonstruktion des Gemäldes Le Pont de l’Europe von Gustave Caillebotte." In Kritische Sozialpsychologie. Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-22352-6_6.

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"Between Caillebotte and Zola." In Gustave Caillebotte as Worker, Collector, Painter. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781501339974.0015.

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"Working as Caillebotte in Petit Gennevilliers." In Gustave Caillebotte as Worker, Collector, Painter. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781501339974.0017.

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"Gustave Caillebotte, Portrait of Richard Gallo, 1881." In French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art, 2021. http://dx.doi.org/10.37764/78973.5.610.

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"Introduction." In Gustave Caillebotte as Worker, Collector, Painter. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781501339974.0006.

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"Work." In Gustave Caillebotte as Worker, Collector, Painter. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781501339974.0008.

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"Collecting." In Gustave Caillebotte as Worker, Collector, Painter. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781501339974.0009.

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"Philately and photography." In Gustave Caillebotte as Worker, Collector, Painter. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781501339974.0011.

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"Philatelic impressionism." In Gustave Caillebotte as Worker, Collector, Painter. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781501339974.0012.

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"Classed corporeality and naturalist signification." In Gustave Caillebotte as Worker, Collector, Painter. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781501339974.0014.

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