log in
Enter site
Login to use Arthive functionality to the maximum
Dahlia in the garden in Petit-Genvilliers
Gustave Caillebotte • Painting, 1893, 157×114 cm
Description of the artwork «Dahlia in the garden in Petit-Genvilliers»
For Gustave Caibotta, since his art was rediscovered in the 1970s, many successful definitions were invented: “conceptual impressionist”, “impressionist-urbanist”, “impressionist-realist”. In each case, art historians tried to find a place in the seemingly established system of values for Kaibotta, in a balanced and thought-out scheme, hierarchically dividing artists into first, second and all subsequent figures. Kaibott, if not destroyed, then forced to revise exactly. Everything was so simple: here Monet, Renoir and Degas - they are stars and pillars. And the leading signs of the new art must be sought from them. On the opposite side are academic retrograde artists, for whom the plot was still important, not technique, meaning, not color perfection. And suddenly, from a secret family collection, "Paris. Rainy day" and "Bridge of Europe", "Parquet floor" and "Man on the balcony". They are so modern and tangible, so in tune with their time, that even in the absence of stylistic innovation, no one will be able to record Kaibotta in the academy camp.
For 50 years of research for Kaibotta found a worthy place in the history of art (modern, of course), and his work is rapidly gaining auction value. A sketch of one figure for the painting “Bridge of Europe” was sold in 2018 for $ 8 million. Full pictures reach a mark of 18 million. And if the urban canvases, fixing the life of a rebuilt, industrial, ceremonial Paris, went right to museums, then Kaibotta's suburban plots are mostly at auction. Not because, of course, that they are not worthy of museums. It’s just that these works safely fit into the history of art, next to Monet and Pissarro, they did not crack the established system.
"Dahlias in the garden of Petit-Gennevilliers" - one of these almost canonical impressionistic works with thick sunspots and blue shadows on the white stucco of the house. Her Kybott wrote a year before his death. At this time, he wrote quite rarely: he bought a mansion in the town of Petit Genvilliers, raised flowers and built boats, collected stamps and wrote a book about philately, made the rules for holding a national regatta and served as a city councilor. Impressionist exhibitions, in which he participated and for which the organization often paid Kaibott - are long gone. He can postpone all business and trips in anticipation of the flowering of rare orchids. He died while working in the garden.
Kaibottu was 40 when he left for the Paris suburb of Petit-Gennevilliers - and he lived here for only 6 years. If something made him take up his brush during these years, then only flowers and sailing boats - two passions, so powerful that they resurrected the passion to write, almost already extinct. These works are always flawless and airy, the angle of view is easily and boldly shifted in them (Kaibott’s favorite technique), the flowers seem to go beyond the picture space and grow almost at the feet of the viewer. Critics often say that the work of the Caibotta is not revolutionary in the context of impressionism: such paintings can be found in Monet and Pissarro. But it is not so. Kaibot-engineer cannot write like Monet - he casts sunspots carelessly along the garden path and dissolves the silhouette of a woman in the hot air, but with pleasure and technical precision he writes fasteners along the greenhouse ramp. As once - bolts in the construction of the bridge of Europe.
Author: Anna Sidelnikova
For 50 years of research for Kaibotta found a worthy place in the history of art (modern, of course), and his work is rapidly gaining auction value. A sketch of one figure for the painting “Bridge of Europe” was sold in 2018 for $ 8 million. Full pictures reach a mark of 18 million. And if the urban canvases, fixing the life of a rebuilt, industrial, ceremonial Paris, went right to museums, then Kaibotta's suburban plots are mostly at auction. Not because, of course, that they are not worthy of museums. It’s just that these works safely fit into the history of art, next to Monet and Pissarro, they did not crack the established system.
"Dahlias in the garden of Petit-Gennevilliers" - one of these almost canonical impressionistic works with thick sunspots and blue shadows on the white stucco of the house. Her Kybott wrote a year before his death. At this time, he wrote quite rarely: he bought a mansion in the town of Petit Genvilliers, raised flowers and built boats, collected stamps and wrote a book about philately, made the rules for holding a national regatta and served as a city councilor. Impressionist exhibitions, in which he participated and for which the organization often paid Kaibott - are long gone. He can postpone all business and trips in anticipation of the flowering of rare orchids. He died while working in the garden.
Kaibottu was 40 when he left for the Paris suburb of Petit-Gennevilliers - and he lived here for only 6 years. If something made him take up his brush during these years, then only flowers and sailing boats - two passions, so powerful that they resurrected the passion to write, almost already extinct. These works are always flawless and airy, the angle of view is easily and boldly shifted in them (Kaibott’s favorite technique), the flowers seem to go beyond the picture space and grow almost at the feet of the viewer. Critics often say that the work of the Caibotta is not revolutionary in the context of impressionism: such paintings can be found in Monet and Pissarro. But it is not so. Kaibot-engineer cannot write like Monet - he casts sunspots carelessly along the garden path and dissolves the silhouette of a woman in the hot air, but with pleasure and technical precision he writes fasteners along the greenhouse ramp. As once - bolts in the construction of the bridge of Europe.
Author: Anna Sidelnikova
