logo
It's raining men at the Getty's survey of Impressionist painter Gustave Caillebotte

It's raining men at the Getty's survey of Impressionist painter Gustave Caillebotte

Whether French Impressionist painter Gustave Caillebotte was gay is not known, although it is frequently noted that he never married. (The artist died young, at 45, in 1894 from what is thought to have been a stroke.) Certainly, however, Caillebotte was homosocial. Evidence of the importance to him of strong social interactions with other men, rather than women, is all over his work.
Workmen scraping wood floors in a room that would become the artist's studio. A man leaning casually against a cafe table, other men across the bar reflected in the mirror behind him. Men rowing boats on the river, reading books or newspapers, playing the piano, working at a desk or merely sitting in a comfortable chair lost in thought. Men playing cards at home. Men looking out over the city from balconies or gazing at it through the crisscrossed steel girders of a bridge. Men toweling themselves dry after a bath.
The emphasis on men's daily lives is very unusual, given the prominence of women as subject matter in scores of paintings of the period by Manet, Degas, Morisot, Monet, Renoir, Cassatt and more of his Impressionist friends and colleagues in Paris. Feminine activity as seen by artists both male and female is a primary focus of those artists' works. But in Caillebotte's art, it's raining men.
At the J. Paul Getty Museum, the first Los Angeles museum survey of Caillebotte's paintings in 30 years brings the atypical subject to the foreground in engrossing ways. The artist has been routinely positioned as 'the forgotten' or 'the unsung' Impressionist, his name hardly as familiar as so many others, although there has been no shortage of scholarly and museum attention to his art since the 1970s. He's far from overlooked. But, oddly enough, his distinctive theme of masculinity emerging in a modern context has been largely unnoticed in museum exhibitions before now.
'Gustave Caillebotte: Painting Men' fixes that.
With more than 60 paintings and almost as many drawings and studies, the show shifts attention away from stylistic analysis of Impressionist painting's formal structures and working methods, at which Caillebotte was not always adept, to issues of identity explored in subject matter. Forget close study of broken brushwork. In the French Republic's revolutionary motto of Liberté, Égalité, Fraternité, which cracked open modernity, brotherhood's place in ideas of freedom and social equality gets examined.
Caillebotte's actual younger brother, René, was the model for 'Young Man at His Window,' a terrific 1876 painting acquired by the Getty in 2021, and one spur to organizing this show. Getty curator Scott Allan worked with Paul Perrin, director of collections at Paris' Musée d'Orsay, where the exhibition was seen last fall, and Gloria Groom, curator at the Art Institute of Chicago, where it concludes its international tour beginning in June.
René, shown from behind, face unseen, is anonymous in 'Young Man at His Window,' a nearly 4-foot vertical painting. Elegantly dressed, he holds a firm, wide stance, hands thrust in pockets, as he looks out over a smart urban intersection from an upper floor of his wealthy family's new home in Paris' fashionable 8th arrondissement. A few carriages are passing by; near the center, a chic young female pedestrian about to arrive at the curb is a possible focus of his regard.
A plush, red velvet fauteuil tucked into the lower right corner of the picture is like an upscale launching pad, which has propelled the man to the balustrade along a tall French window. Opposing diagonals of the room and the opened right-hand window meet at a pointed angle where René stands, placing him smack at the center of a jutting space. It's as if he's plowing forward on the prow of a ship. The clever composition emphasizes his dynamic placement as a commander of the modern city, spreading out below.
Caillebotte's best paintings exploit such savvy compositional drama, which signals a keen awareness of performing for a viewer standing in front of the canvas. 'Floor Scrapers,' a personal favorite, assumes an intimate vantage point of looking down toward the workmen's vigorous labor, which results in a floor that appears vertiginously tilted up. It's as if the shirtless workmen might soon tumble into a viewer's space.
'Paris Street, Rainy Day,' easily Caillebotte's most famous (and largest) painting, is a push-pull extravaganza of male urban energy. A vertical lamppost splits the scene roughly into halves. In the closely cropped right half, a man confidently leads a woman toward us by the arm, while in the left half, mostly men bustle about in the space opened in a broad intersection created by dramatically thrusting buildings.
Way over to one side, the front end of a carriage miraculously — and impossibly — vanishes behind two pedestrians. The visual trick may have been created by the artist's use of a common optical viewing aid called a camera lucida. If so, the painted visual surprise, which the painter surely knew, is one more nod to our status as keen observers.
The urban push-pull of 'Paris Street, Rainy Day' becomes the recreational play of looking at art. The game continues in 'Boating Party,' which puts us inside a rowboat right up close to a top-hatted rower whose exertion will paradoxically pull the boat away from where we stand. Our vision zooms in, while the rower is poised to zoom out.
In the rarely seen 'Man at His Bath,' the tug assumes a culturally determined tension around male nudity. We unexpectedly find ourselves in an ordinary guy's presence after he has just gotten out of the privacy of a bathtub and is toweling himself off. He's nearly life-size. Caillebotte has jettisoned the usual classical trappings of Greek and Roman heroes, which typically cloak male nudes in sober history and myth. How closely should we — male or female — be examining this man's lovingly painted buttocks?
Sometimes the composition gets away from Caillebotte, despite the best of intentions. Another painting accomplishes a snappy cultural reversal by putting Charlotte Berthier, his longtime female companion (whom he chose not to marry), in the extreme foreground reading a newspaper, while a man in the background is stretched out on a sofa reading a book. It's a pointed swap of the usual reading material shown in traditional Western pictures of women and men.
The composition portrays her alert perusal of a text connected to the public world of action, and him relaxing with a text connected to a contemplative interior life. Unlike the lovely woman, however, the man on the couch is awkwardly drawn, and the shift in scale is all wrong. Overwhelmed by big, floral-patterned cushions, he looks like a child or a doll. The clumsiness derails the scene.
Indeed, each of the show's seven thematic sections is anchored by a single strong painting. The rest are subsidiary — helpful in fleshing out the period themes of masculinity based on family, work, friendships, sports and the like, but also evidence for why Caillebotte doesn't rank in the top tier of Impressionist painters. Overall, with most paintings bland, unadventurous or ungainly, he just isn't that good — perhaps unsurprising for a serious career that didn't last much more than a decade.
That fact has been unmistakable since 1976, when Houston's Museum of Fine Arts sparked the general revival of interest in his work with the artist's first full retrospective exhibition in the U.S. (The Getty's is the fourth.) Here was a fresh Impressionist face from America's favorite modern art movement, but just a handful of pictures were top-notch. He made around 500 paintings during his lifetime, so the ratio is poor.
The date of the Houston show is revealing. It coincides with the efflorescence of 1970s feminist art history. Among the many benefits of feminist scholarship and its focus on the complex nature of identity has been the subsequent study of homosocial experience. For men, same-sex socialization must also deal with the conventional oppression against homosexuality — a categorizing term invented when Caillebotte was 20 and in common usage by the time he died. In modern life, men can get close to other men — just not too close.
Think again about 'Young Man at His Window.' For all we know, Caillebotte's brother René could be looking to see who's riding in the far carriage passing by in the distance, or getting out of the carriage pulled up by the curb just below his window. Maybe it's a man. Maybe the prominent placement of a lone young woman in the center intends to provide a protective shield, offering another ambiguous prospect. Painting men in late 19th century France meant that caution had to be taken. Today, when issues of marginalized identity are under massive political assault, the Getty show opens up tantalizing questions.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Doechii Slams Trump Administration In Powerful BET Awards Acceptance Speech
Doechii Slams Trump Administration In Powerful BET Awards Acceptance Speech

Black America Web

time16 minutes ago

  • Black America Web

Doechii Slams Trump Administration In Powerful BET Awards Acceptance Speech

Source: Kevin Winter / Getty Doechii was all smiles as she accepted the 2025 BET Awards for 'Best Female Hip Hop Artist.' After all, it's the 'Anxiety' artist's first BET Award. But instead of a traditional acceptance speech, she used her platform to bring awareness to the peaceful protest outside the Peacock Theater, which is being forcefully interrupted by authorities. 'I do want to address what's happening right now, outside the building,' she said passionately.'These are ruthless attacks that are creating fear and chaos in our communities. In the name of law and order, Trump is using military forces to stop a protest, and I want you all to consider what kind of government it appears to be — when every time we exercise our democratic right to protest, the military is deployed against us.' Dozens of people have been detained and taken into custody during raids by Immigration and Customs Enforcement, prompting protests in the DTLA area, NBC News reports. 'People are being swept up and torn from their families, and I feel it is my responsibility as an artist to use this moment to speak up for all oppressed people,' she added. Per AP, an initial 2,000 Guard troops ordered by Trump started arriving Sunday, which saw the most violence during three days of protests driven by anger over Trump's stepped-up enforcement of immigration laws that critics say are breaking apart migrant families. These attacks on our civil liberties is more evidence of the Trump Administration's failure to the people. 'This isn't about public safety,' Gov. Gavin Newsom said. 'It's about stroking a dangerous President's ego.' SEE ALSO Doechii Slams Trump Administration In Powerful BET Awards Acceptance Speech was originally published on Black America Web Featured Video CLOSE

Apollo Theater Raises Record Breaking Millions at Gala, Honors Legends
Apollo Theater Raises Record Breaking Millions at Gala, Honors Legends

Black America Web

time37 minutes ago

  • Black America Web

Apollo Theater Raises Record Breaking Millions at Gala, Honors Legends

Source: Daniel Zuchnik / Getty The nation's iconic Apollo Theater in Harlem announced a record breaking $3.2 million raised at its 2025 Spring gala. The funds will support year-round programming that amplifies artistic excellence, youth education, community engagement and a major renovation of the over 100 year old theater that has launched the careers of thousands of African American artists from Ella Fitzgerald to James Brown to Gladys Knight, H.E.R. D'Angelo, and Lauryn Hill. Its Amateur Night is the genesis for popular shows like American Idol It was a night filled with purpose and praise, honoring music industry titan Clive Davis with the Legacy Award and inducting him into the Apollo's Walk of Fame. Rising from the very same stage she first stepped on as a child, Harlem-born artist and multi-hyphenate Teyana Taylor received the inaugural Innovator Award. Radio/TV personality Jazmyn Summerswas there for Radio One to bring you the tea. STAY INFORMED! CLICK HERE TO SIGN UP FOR OUR NEWSLETTER! Clive Davis: Reviving Icons and Shaping Sound Few figures in the music industry have shaped careers as profoundly—or resuscitated them as masterfully—as Clive Davis. The legendary executive, founder of Arista Records, famously revitalized the careers of two vocal powerhouses: Aretha Franklin and Dionne Warwick. After Aretha Franklin's chart presence had faded by the late 1970s, Davis signed her to Arista in 1980. With an ear toward contemporary production, he paired her with rising producers like Luther Vandross, resulting in the chart-topping Jump to It and the Grammy-winning Freeway of Love . Franklin's resurgence under Davis's leadership marked one of the most celebrated comebacks in music. Equally powerful was Davis's role in returning Dionne Warwick to the top. After a career lull, he signed her to Arista in 1979. Warwick was unsure of her future in music—until Davis stepped in. 'You may be ready to give the business up,' Davis told her, 'but the business is not ready to give you up.' That encouragement led to I'll Never Love This Way Again —a platinum-selling hit—and the landmark anthem ' That's What Friends Are For.' Decades later, Warwick recounted: 'His words still ring in my ear… 'Uh‑uh, young lady. You may be ready to give this industry up, but the industry is not ready to give you up.' RELATED STORY: Usher Shows Mad Love to Wife at Apollo Theater 90th Anniversary RELATED STORY: Red Carpet Rundown: Doechii, Halle Bailey, Ciara & More Slay Clive Davis' Pre-Grammy Gala Teyana Taylor: From Harlem Kid to Culture Shaper For Teyana Taylor, the night was a homecoming. Having first performed at the Apollo at just 8 years old, she returned now as a bold and boundary-breaking artist, director, and fashion visionary. Receiving the Innovator Award, Taylor offered heartfelt thanks to the institution that shaped her beginnings: 'Thank you for the village you have placed in my life. I'm filled with so much gratitude.' Her evolution from neighborhood prodigy to industry innovator reflects the very soul of the Apollo's mission—to nurture, elevate, and honor Black brilliance. Source: Shahar Azran / Getty A Starry Celebration of Sound and Legacy Hosted by comedian Kym Whitley, the gala unfolded with a vibrant lineup of performers, including Method Man, Busta Rhymes, Deborah Cox, Shoshana Bean, The Baylor Project, Avery Sunshine, and Camille A. Brown & Dancers—all brought to life under the direction of musical maestro Adam Blackstone. Civil rights leader Rev. Al Sharpton presented a moving tribute to longtime Apollo supporter entrepreneur Richard Parsons, recognizing his visionary leadership and dedication. And when the formal program ended, Harlem kept dancing—thanks to the return of DJ D-Nice, who transformed 126th Street into a star-studded party pulsing with joy, rhythm, and community love. The Apollo's Next Act: Restoration and Renewal Apollo President and CEO Michelle Ebanks unveiled a bold vision for the theater's future, including an expansive renovation of the historic venue: 'Our education program is reaching more young people than ever… this renovation is part of an evolution set in motion more than a decade ago.' Updates will include new orchestra seating, modern acoustics and lighting, upgraded dressing rooms, and a full restoration of the iconic Apollo marquee—ensuring the venue remains as powerful visually as it is spiritually. The 2025 Apollo Spring Gala was more than a fundraiser—it was a resounding testament to the resilience and ongoing influence of Black music, art, and community. Its success in raising over $3.2 million positions the theater for its next phase, ensuring the Apollo remains a beacon for future generations of artists. Check out carpet interviews, Clive spilling the real tea on Aretha's and Dionne's comeback, Teyana's speech, and some of the dynamic performances BELOW. Source: Jazmyn Summers / Jazmyn Summers Article by Jazmyn Summers. Photos and video by Melissa Nyomi Stoll of MelshotyaYou can hear Jazmyn every morning on 'Jazmyn in the Morning 'on Sirius XM Channel 362 Grown Folk Jamz . Subscribe to J azmyn Summers' YouTube . Follow her on Facebook and Instagram. SEE ALSO Black America Web Featured Video CLOSE

Diddy Was Having Freak-Offs Right Up Until He Was Arrested And More From Trial's Fifth Week
Diddy Was Having Freak-Offs Right Up Until He Was Arrested And More From Trial's Fifth Week

Black America Web

time10 hours ago

  • Black America Web

Diddy Was Having Freak-Offs Right Up Until He Was Arrested And More From Trial's Fifth Week

Source: Penske Media / Getty In order to have drug-filled 'freak-offs' someone had to bring drugs from city to city and according to Jane Doe in the trial of Bad Boy records founder Sean 'Diddy' Combs that job repeatedly fell on her. According to Deadline, 'Jane,' a pseudonym used to hide her identity, claims that she and others in the rap mogul's inner circle were required to transport Ecstasy and more, which was used for drug-fueled sex sessions. 'I just asked her if this was safe and okay,' Combs' ex-girlfriend, said to reported Diddy top aide Kristina Khorram about taking a bag of drugs from LA to Miami. This was Jane's second day on the stand, and Jane noted that 'KK' replied, 'It's fine, I do it all the time, just put it in your checked-in luggage.' During what Deadline noted was a 'sometimes-tear-filled testimony,' Janed added that she was required to carry Ecstasy across state lines for Diddy. She confirmed earlier testimony from Diddy's ex, Cassie Ventura, that the pills and cocaine were used during marathon 'freak-off' sex sessions with male escorts. Jane also claimed that Combs would use 'personal assistants and security details to procure more when his current stash ran out for the often filmed 'freak-offs,' Deadline reports. All of it, Jane claimed, took a toll on her as she noted that she unsuccessfully begged Combs to have the male escorts wear condoms during what could be days-long 'freak-offs.' Jane told Assistant U.S. Attorney Maurene Comey, that she feared with the crazy amount of drug use that things could get violent. Diddy, she claimed, was dismissive of all of her concerns. Jane and Diddy had been in an ongoing situationship since 2021. Jane, who described herself as an online influencer and single mother, noted that Diddy was nice during the courting part of their relationship, even offering to pay for her house and supplement her income. But, as Cassie and others claimed, these were all merely controlling tactics to make the women dependent on him. 'Again, like he did with Ventura and others, as the prosecution clearly intends to convey to the jury, a sometimes semen-smeared Combs used the same M.O. of drugs, blackmail, fear and violence to make a baby oiled up, lingerie and high-heels wearing 'Jane' participate in the 'freak-offs,' Deadline reports. Jane told the jury that in September 2023, she sent a text to Combs noting her distress over participating in 'freak-offs' and having forced sex with paid men. 'It's hurting me,' she told Combs, 'It's dark, sleazy, and makes me feel disgusted with myself.' The text added: 'I don't want to play this role anymore. I'm so much more than this …I feel like it's the only reason you have me around and pay for the house.' 'Girl, stop,' Combs reportedly replied. Jane said that the 'freak-offs' initially ran from May 2021 to October 2023, usually taking place at upscale hotels, and then stopped for about three months. Then Cassie filed her lawsuit alleging abuse and assault, which was quickly settled out of court. CNN released the footage of Diddy beating Cassie in a hotel hallway, and then, just a month later, the 'freak-offs' reportedly picked back up at Diddy's Florida home. There were five alleged sessions, and the last one reportedly occurred just a few weeks before Diddy was arrested. The 55-year-old rapper/producer/media mogul, who was once known for 'being all up in the videos,' has been on trial in New York City since May 12. If found guilty of federal charges, which include racketeering, sex trafficking, and transportation to engage in prostitution, he could face life in prison. Diddy Was Having Freak-Offs Right Up Until He Was Arrested And More From Trial's Fifth Week was originally published on Black America Web Featured Video CLOSE

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store