Gustave Caillebotte (i)
Musée d'Orsay (Paris, France) (i)
This painting is one of the first representations of urban proletariat. Whereas peasants (Gleaners by Millet) or country workers (Stone Breakers by Courbet) had often been shown, city workers had seldom been painted. Unlike Courbet or Millet, Caillebotte does not incorporate any social, moralising or political message in his work. His thorough documentary study (gestures, tools, accessories) justifies his position among the most accomplished realists. Caillebotte had undergone a completely academic training, studying with Bonnat. The perspective, accentuated by the high angle shot and the alignment of floorboards complies with tradition. The artist drew one by one all the parts of his painting, according to the academic method, before reporting them using the square method on the canvas. The nude torsos of the planers are those of heroes of Antiquity, it would be unimaginable for Parisian workers of those times. But far from closeting himself in academic exercises, Caillebotte exploited their rigour in order to explore the contemporary universe in a completely new way. Caillebotte presented his painting at the 1875 Salon. The Jury, no doubt shocked by its crude realism, rejected it (some critics talked of "vulgar subject matter"). The young painter then decided to join the impressionists and presented his painting at the second exhibition of the group in 1876, where Degas exhibited his first Ironers. Critics were struck by this great modern tableau, Zola, in particular, although he condemned this "painting that is so accurate that it makes it bourgeois".
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- Print on 100% cotton Art canvas
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- Dim(21 x 14.7 inches (53.3 x 37.3 cm))
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Gustave Caillebotte
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Artworks in museum
- Art Institute Of Chicago - (Chicago - Usa)
- Art Institute Of Chicago (Chicago, United States)
- Kimbell Art Museum (Fort Worth, United States)
- Kimbell Art Museum (United States)
- Michele And Donald D’Amour Museum Of Fine Arts (Springfield, United States)
- Milwaukee Art Museum (United States)
- Musee Baron-Berard (France)
- Musee Du Petit Palais (France)
- Musee Marmottan Monet (France)
- Museum Of Fine Arts (Boston, United States)
- Museum Of Fine Arts (Houston, United States)
- Musée D`orsay (France)
- Musée D`orsay (Paris, France)
- Musée Des Beaux-Arts Et De La Céramique (Rouen, France)
- Musée Des Beaux-Arts (France)
- Musée Fabre (Montpellier, France)
- Musée Marmottan Monet (Paris, France)
- National Gallery Of Victoria (Melbourne, Australia)
- National Gallery (London, United Kingdom)
- Nelson-Atkins Museum Of Art (Kansas City, United States)
More information on this artwork on this websites
Museum Quality Oil Painting Reproductions, 50% Below Retail. | Gustave Caillebotte - The Floor Scrapers (also known as The Floor Strippers
www.pinterest.com/akmaniremm/s...
Dec 24, 2018- Explore iremelek's board "Sanat" on Pinterest. See more ideas...
Hand-Painted Art Reproductions On Canvas Direct From Studio. | Gustave Caillebotte - The Floor Scrapers (also known as The Floor Strippers
Museum Quality Art Reproductions of Famous Masterpieces, Painted by Academy Graduated Artists. | Gustave Caillebotte - The Floor Scrapers (also known as The Floor Strippers
www.histoire-image.org/etudes/ouvrier-ar...
Découvrez L'ouvrier artisan analysée par Fleur SIOUFFI au travers d’œuvres ...
www.babelio.com/monprofil.php?id_user=1...
Découvrez la bibliothèque virtuelle de Jerho75 sur Babelio.com
ArtsDot.com (Gustave Caillebotte)
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PrintTextured [{A-8XXCK9}]-Dim(21 x 14.7 inches (53.3 x 37.3 cm))-DC(HVTHR15)-Shipping(Slow)-GlossyTextured-NamePlate-FRAME(P438Z)-Gustave Caillebotte-The Floor Scrapers (also ...
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This painting is one of the first representations of urban proletariat. Whereas peasants (Gleaners by Millet) or country workers (Stone Breakers by Courbet) had often been shown, city workers had seldom been painted. Unlike Courbet or Millet, Caillebotte does not incorporate any social, moralising or political message in his work. His thorough documentary study (gestures, tools, accessories) justifies his position among the most accomplished realists. Caillebotte had undergone a completely academic training, studying with Bonnat. The perspective, accentuated by the high angle shot and the alignment of floorboards complies with tradition. The artist drew one by one all the parts of his painting, according to the academic method, before reporting them using the square method on the canvas. The nude torsos of the planers are those of heroes of Antiquity, it would be unimaginable for Parisian workers of those times. But far from closeting himself in academic exercises, Caillebotte exploited their rigour in order to explore the contemporary universe in a completely new way. Caillebotte presented his painting at the 1875 Salon. The Jury, no doubt shocked by its crude realism, rejected it (some critics talked of 'vulgar subject matter'). The young painter then decided to join the impressionists and presented his painting at the second exhibition of the group in 1876, where Degas exhibited his first Ironers. Critics were struck by this great modern tableau, Zola, in particular, although he condemned this 'painting that is so accurate that it makes it bourgeois'.
Gustave Caillebotte
Gustave Caillebotte
Oil On Canvas
Oil On Canvas