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Paris, A Rainy Day

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Description: Paris, A Rainy Day
Related content: Chapters (6) Images (7)

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Description: Centre Pompidou: Renzo Piano, Richard Rogers, and the Making of a Modern Monument
~As much as 60 percent of the steel used for the construction of the Centre Pompidou’s parts other than the expansion joints is cast steel. The first span was installed on October 31, 1974, and in April 1975 the work was complete. To avoid on-site welding as much as possible, the parts of the skeleton are remarkably large. Each of the columns, produced in...
PublisherYale University Press
Related print edition pages: pp.91-102
https://doi.org/10.37862/aaeportal.00259.005
Description: Art and the French Commune: Imagining Paris after War and Revolution
~I WANT to begin this chapter with the case study of Gustave Caillebotte, both patron of, and participant in, the Impressionist collective. He was the youngest (born 1848) and most well off of the group, and the most conservative in style and content. His major works attest to a thorough assimilation of the rhetoric of...
PublisherPrinceton University Press
Related print edition pages: pp.77-113
https://doi.org/10.37862/aaeportal.00021.007
Description: Designing the Modern City: Urbanism Since 1850
~Many of the most admired European cities today, places such as Rome, Florence, Venice, and Paris, have for centuries served as points of inspiration for later efforts to design urban environments. These urban environments, now often overrun with tourists and fraught with social conflicts, were produced in a cultural environment where strictly economic concerns were...
PublisherYale University Press
Related print edition pages: pp.4-40
https://doi.org/10.37862/aaeportal.00037.004
Description: Realism in the Age of Impressionism: Painting and the Politics of Time
Gustave Caillebotte first presented his Decorative Triptych at the fourth exhibition of “independent artists” in the spring of 1879 (figs....
PublisherYale University Press
Related print edition pages: pp.53-89
https://doi.org/10.37862/aaeportal.00100.005
Description: Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism, Paris
~Penned in the third person, Giorgio de Chirico’s autobiographical note from 1919 recalls his early paintings from Paris as having been inspired by various Italian cities:
PublisherYale University Press
Related print edition pages: pp.73-119
https://doi.org/10.37862/aaeportal.00059.006
Description: Impressionism: Art, Leisure, and Parisian Society
When Henry Tuckerman came to Paris in 1867, one of the thousands of Americans attracted there by the huge international exposition, he was bowled over by the extraordinary changes since his previous visit twenty years before...
PublisherYale University Press
Related print edition pages: pp.1-32
https://doi.org/10.37862/aaeportal.00067.005

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