When first-time visitors ascend the Grand Staircase and enter Gallery 201, they are drawn immediately to the monumental Paris Street; Rainy Day (1877) by Gustave Caillebotte. The painting—a perennial visitor favorite since it joined the collection in the 1960s—shows the (then) new boulevards of Paris and the modern, fashion-conscious crowd attempting to stay dry. The picture seems both real and choreographed, dreary yet optimistic. It's no wonder so many find it magnetic.
The painting made a special appearance in Impressionism, Fashion, and Modernity in 2013, and then went off view to undergo conservation. But it was what happened next that landed it a special profile in the Wall Street Journal and its very own video.
Conservator of paintings Faye Wrubel began work on conserving the painting last fall after its big cameo. Her routine conservation and cleaning turned into something much larger once Ms. Wrubel removed the varnish and discovered the painting took on a different tone: the skies are now more blue and dynamic, there are more pronounced contrasts, and there's more light—almost like the rain is ending and the sun is about to break from the clouds. So you can better see the change, our "before" image is immediately below and the "after" image is below that.
The conservation team used x-ray, infrared, and ultraviolet analyses to survey the painting. The ultraviolet photos told a story different than what most assumed about the painting—she learned that sometime between when Caillebotte finished the work and it joined the Art Institute's collection, the work had been retouched to make the sky more consistent. After examining painted sketches and the ultraviolet photos, Ms. Wrubel concluded that Caillebotte painted a sky of greater complexity than what most of us were accustomed to.
The conserved work has elicited "wow"s from those who have seen it. There's definitely more sparkle to an already beloved Art Institute piece. And to decode what that means, we invite you to see the painting for yourself. Paris Street; Rainy Day will be back on view in Gallery 201 on April 23.
3 hours 12 min ago The Art Institute of Chicago It is believed Van Dyck never intended for the early stages of his etchings to be circulated and was surprised by their immediate popularity in the art market. Finding success at a time when artists didn’t usually show works in progress, these “unfinished” prints helped set the stage for the more recent popularity of works that reveal the creative process. See the prints that altered conventions in Van Dyck, Rembrandt, and the Portrait Print—closing August 7.
22 hours 5 min ago The Art Institute of Chicago #TBT 1983: The museum held an exhibition for the collection of Jalane and Richard Davidson, Chicago collectors of contemporary American realist drawings. Acknowledged at the time for collecting against prevailing art world trends, they amassed a comprehensive collection of work spanning the careers of both well-known artists—like Jack Beal, pictured here with Jalane herself and a portrait he made of her—and lesser-known Midwestern artists. The entire Davidson collection was bequeathed to the museum and saw another exhibition devoted to it in 1999.
1 day 2 hours ago The Art Institute of Chicago Who's ready to experience A Lot of Sorrow? The National aren't playing Lollapalooza this year, but festival–goers can still see the band perform their ballad “Sorrow” on repeat for six hours, in an intensely durational film by Icelandic artist Ragnar Kjartansson.
Now on view in the Modern Wing