We must never underestimate the effects of opportunity: if the Musée d’Orsay has dedicated itself to celebrating Gustave Caillebotte, it is not (only) for the 130th anniversary of his death nor for the thirty years of the retrospective of 1994 which finally crystallized the new interest in the one in which we only live for too long in France “a talented artist, although an amateur artist”. Unfortunately, born wealthy, his role as patron of his painter friends permanently overshadowed his Art which we continue to rediscover despite the spectacular flowering of exhibitions over the last fifteen years: let us cite the spotlight given to the Jacquemart-André Museum in Paris ( see the article) then to the Caillebotte Property in Yerres, where the family resided (see the article) quickly followed by the Museum of Impressionisms in Giverny (see the article) and even more recently at the Gianadda Foundation in Martigny (see the article). It is therefore difficult to imagine – unless you never leave the Musée d’Orsay, where this is in fact the first exhibition dedicated to the artist – how certain commentators can see it as a striking event.
- 1. View of the exhibition “Caillebotte. Painting men” at the Musée d’Orsay
Photo : Allison Bellido
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See the image on his page
How, however, can we not come away impressed by this luxury journey peppered with all of Caillebotte’s masterpieces, on loan from American institutions (ill. 1) like Swiss collections sometimes disguised as museums [1] or the heirs of the artist who still hold an essential part of his “stock”? Its progression, simply but solidly designed, proves to be quite dazzling for visitors who are lucky enough to admire it despite the crowds that flock there. [2]. However, we must admit that we have rarely seen here a more spectacular gap between the sumptuousness of the display and the poverty of the discourse that accompanies it, even if the majority of visitors admire the works without taking the time to read the labels. The texts offered in the rooms can quickly arouse perplexity or even hilarity, but those of the essays in the catalog are unfortunately even tastier.
- 2. Gustave Caillebotte (1848-1894)
The Card Gamearound 1876
Pastel on paper – 45 x 58 cm
Private collection
Photo: Alexandre Lafore
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See the image on his page
- 3. Gustave Caillebotte (1848-1894)
Bezigue gamearound 1881
Oil on canvas – 125.3 x 165.6 cm
Louvre Abu Dhabi
Photo : APF
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See the image on his page
The visitor, naturally eager to know more about the jewels he contemplates, will be at his expense, with no notice of the work coming to enlighten him – a sad habit in Orsay, as the catalog for the current Harriet exhibition also demonstrates. Backer (see the article) – while the preface immediately confirms that the two recent acquisitions from the Getty Museum (see the news item dated 10/19/21) and the Musée d’Orsay…
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