Caillebotte vs Manet: Art Critique and Work Comparison

An Introduction to Impressionism 

The Luncheon by Claude Monet, 1873. 

Oil on canvas. 

Musée d'Orsay, Paris, France

The style of painting known as Impressionism which started in Paris France in the later part of the 1860s, began to flourish in the earlier part of the 1870s and lasted through the 1880s. At first, it did not prove to stand out or to possess anything that would make it different from the other painting styles. It was, however, like all the other painting techniques, was eventually accepted and recognized by both critics and art lovers in that period. 

Impressionism’s attributes which set it apart from the other painting styles was the manner of how the artist executed the brush strokes: freely, fast and natural. The subjects on the other hand often involved realistic depiction of light, which meant that the painting background was based on how the light created an effect on an actual picture of a particular scene or subject. For instance, if the light depicted various shades of red during a sunset scene, then that would be the scene that the artist would capture on his canvas. 

Impressionism can be considered a sculptor of fine arts which molded such genuine creative minds as that of Gustave Caillebotte who executed perfection in his works making him a remarkable figure and contributor in the history of arts. 

The group of Impressionists was able to hold several exhibitions which featured both old and new artists, from among which Gustave Caillebotte, a lover and patron of the arts made his debut during the Second Exhibition. 

Gustave Caillebotte: His Life and Works 

Biography 

Gustave Caillebotte was a French painter who belonged to the Impressionist group. He was born to Martial Caillebotte and Céleste Daufresne on August 19, 1848 at their home on rue du Fauburg-Saint-Denis. “Gustave Caillebotte was not a proverbial ‘starving artist’. He was actually born to a life of wealth and stature[1]”. His father, having been an heir to the family business of military textile – and a judge at the Tribunal de Commerce in Seine – an in heritance which later on Caillebotte was able to acquire and use in his painting profession and in patronizing the works of his friends and fellow artists after his parents died. 

Caillebotte studied law and was able to earn a degree and license to practice the said profession. He was also an engineer, and was known for his interests in other fields such as textile design (in relation to their family business), orchid horticulture, yacht building and photography. He also participated in the Franco-Prussian war where he served in the Garde Nationale Mobile de la Seine. 

Caillebotte’s Life as An Artist 

Caillebotte began to show his interest in painting and drawings when he and his family moved into their new home on rue de Miromesnil, Paris. Since their transfer to their new home, the Caillebotte family often spent their leisure time in a nearby small town outside of Paris known as Yerres. The place was a view of a relaxing countryside with a spectacular river which served as Caillebotte’s motivation to cultivate his artistic nature. His subjects mostly consisted of sceneries and landscapes and family scenes which would often feature his family members performing daily routines. It was after the war that Caillebotte began to take painting seriously as evidenced by his visits to Léon Bonnat’s studio to take lessons. It was then that he started meeting a number of artists which included Giuseppe de Nittis and Edgar Degas who gave him the encouragement to attend the first Impressionist Exhibition held in 1874. 

During that same year, Caillebotte met several more painters who were part of the Impressionist group including Pierre-August Renoir, who later on became his friend who often came to stay at Petit-Gennevillliers, Caillebotte’s house. 

His admiration and love for the painting style that was being introduced by his friends was one of the factors which triggered him to join the exhibition in 1876. Caillebotte became the main supporter and patron of the Impressionists; he helped them to organize their first major Paris exhibit as a group aside from constantly purchasing the works of his friends for generous amounts of money. 

It was quite unfortunate that his first submission of work – his painting entitled The Floor Scrapers – to the Paris Office Salon did not have a positive result when it was rejected. He then tried entering the same painting to the exhibition where he did not fail to receive acknowledgement and recognition. 

His Works 

Gustave Caillebotte did several works which depicted family scenes and daily domestic routines. His style was more of Realism, “which presented a counterpoint to the highly emotional and sensational Romantic movement.[2]” 

Caillebotte’s painting style as a Realist may be compared to contemporary photography in terms of perspectives; “something that is common today but was experimental during his time.[3]” 

The Orange Trees (Les orangers) 1878 

This work was done on a 61x46-inch canvas using oil paint as medium. The main subjects being the orange trees and the family members whom Caillebotte chose to act as his models were his brother Martial Jr. and cousin Zoë. The scene is of a typical family leisure time wherein the subjects are reading as a means of their recreation. The background is a combination of dark and light colors which allow emphasis on the main subject – the orange trees. The right amount of white, being predominant and the presence of yellow and other pastel colors create a realistic, picture-like background. Similarly, the right shade of green was used with just the right amount of yellow and white to project the sunlight illuminating through the leaves of the tree. The darkened portion of the ground represents the area covered by the shelter being provided by the orange tree; in general, the scene projects and impression of pleasantness and relaxation in the eyes of the viewer. 

Young Man at His Window (Jeune Homme à sa fenêtre) 1875 

This oil on canvas piece done on canvas measuring 117x82 centimeters is a portrait of a male figure, the subject being Caillebotte’s brother Réne, who is standing in the balcony looking outside the open window with his back on the viewer. The background shows a portion of the figure’s reflection on the glass window pane as well as the perspective view of the building structures painted in white. The painting projects a contrast of indoor tranquility and outdoor vividness.

Portrait of Madame Martial Caillebotte 1877 

This work was done on canvas using oil paint as medium is painting of Caillebotte’s mother. Again, Caillebotte used contrasting shades of dark and light to distinguish the main subject from the background. The blending of black and yellow of the woman’s dress in contradiction to the white used to form the cloth and the color used by the painter to form the figure’s face and hands projects a contrasting combination of colors which are neither too dull nor too bright. 

The Painter Under His Parasol 1878 

This work was done using oil paint on canvas, like all the rest of Caillebotte’s paintings. This painting of the artist at work under the shed of his parasol projects a realistic appearance of outdoor scene with the correct amount of yellow to emphasize the bright sunlight. Despite the evident coarseness of the brush strokes, the painter was still able to create a vivid and life-like representation. 

Édouard Manet, another Painter of the Impressionist Period 

One impressionist painter who might be compared and contrasted with Caillebotte in terms of style and choice of subjects was Édouard Manet. Manet was another French painter during the era of Impressionism who had an entirely different manner of expressing his thoughts and ideas through his works as compared to Gustave Caillebotte. 

Unlike most painters of his time - including Caillebotte - whose subject matters were aimed to tell stories, Manet’s style was primarily intended for visual effects that were oftentimes being criticized by his detractors, and by art critics and common art lovers as rather indecent or even disgraceful since they depicted negative impressions on women’s reputation during those times; to many people who barely understood how and why nudity became a form of art, they viewed the manner of Manet’s representation of the female form as somewhat a means of degrading the morale and values of women in the society. 

Manet also created a number of works which may be considered rather “wholesome” should his works be viewed and commented on by contemporary critics. Like Caillebotte, he chose had his family members act as his subject models. Two of his works which may be compared with Caillebotte’s oeuvres in connection with the subject’s relation to the artist are the following: 

1. Manet’s Mother in the Garden at Bellevue 1880 

Manet used oil paint to express his creativity and artistry on canvas. The colors used for this painting may be considered a fine choice. However, the artist was not able to clearly emphasize the main subject from the background. The blending of color was done in such a manner which would make the viewer look closer before being able to distinguish one figure from another. The dark colors used to form the human figure somewhat blend with the background making it difficult for a viewer to differentiate the beginning from the end of one object from the other. The painting therefore lacks emphasis on the main subject and the entire work lacks refinement. Despite the negative attributes of the work, the entirety of the piece still appeals to many viewers making it an intriguing yet a fine work of art. 

2. Portrait of Monsieur and Madame Auguste Manet 1860 

This oil on canvas piece done by Manet features his parents, Monsieur Auguste Manet and Madame Eugénie-Desirée Fournier; although the figures were finely formed and the images surrounding the main subjects may be differentiated from one another, the entire work lacks vibrancy due to unequal blending of dark and light color shades, making the figure look dull and unanimated. The facial expressions of the subjects, however, are what capture the viewer’s interest. The man projects a strong yet dignified personality, while the woman projects a submissive yet loving character; both are typical traits of elderly people. 

Édouard Manet’s Works In Comparison With Caillebotte’s 

Manet’s choice of subjects in some of his works can be compared to Caillebotte; both artists preferred to have their family members to pose as their models for some of their oeuvres. Caillebotte had his mother, brothers and cousins pose for him in some of his major works while Manet had his wife and brother-in-law pose for him in one of his masterpieces. 

Le Dejeuner sur l'Herbe 

(Edouard Manet)

As opposed to Caillebotte’s style, wherein the lighting effects were done in a manner that would make the subject appear more realistic, as if they were subjects of photography rather than of painting, Manet’s style possessed lesser vividness. 

Oarsman in a Top Hat

(Gustave Caillebotte)

Caillebotte’s works are more detailed, more vivid and more realistic to look at in comparison with Manet’s. In my personal observation, Caillebotte was able to blend the right amount of colors, enabling him to achieve the proper shades needed to produce more life-like images. 

On the contrary, Manet seemed to be more concentrated on conveying subliminal messages through, and teasing the human imagination with his works. His painting style was less refined, less realistic, yet full of meaning, enough to cause various positive as well as negative reactions among ordinary viewers and art critics. 

Olympia (Manet)

Where some of Caillebotte’s works were considered by many as strange, in the same manner, some considered a number of Manet’s works as rather appalling.

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[1] Petra ten-Doesschate Chu, Nineteenth-Century European Art. Upper Saddle River: Prentice Hall, 2007, p. 48

[2] Janis Tomlinson,ed., Readings in Nineteenth-Century Art. Upper Saddle River: Prentice Hall, 1996, p. 29.

[3] Chu, p. 59

Bibliography

Anne Distell, Douglas W. Druick; Gloria Groom & Rodolphe Rapetti. Gustave Caillebotte, Urban Impressionist. (New York: Abbeville Publishing Group (Abbeville Press, Inc., 1995) & The Art Institute of Chicago. (American catalogue for retrospective exhibition in Paris, Chicago, & Los Angeles, 1994-1995.)

Petra ten-Doesschate Chu. Nineteenth-Century European Art. (Upper Saddle River: Prentice Hall, 2007).

Stephen F. Eisenman. ed. Nineteenth-Century Art: A Critical History, 3rd ed. (London: Thames and Hudson, 2007).

Rosenblum, Robert and Janson, H.W. 19th-Century Art. (New York: Abrams, 1984).

Tomlinson, Janis, ed. Readings in Nineteenth-Century Art. (Upper Saddle River: Prentice Hall, 1996).

Van de Bogart, Doris. Introduction to the Humanities. (New York: Barnes and Noble, 1968).