Impressionism has dominated the art world for about 150 years, and the general public and art experts admire it. The innovative genre, renowned for its painters’ avant-garde approaches to painting, has aided in the formation and impacted the development of various art movements, firmly establishing its position as the driving force behind modern art. It is arguably the most significant movement in modern painting and sculpture.
Since the diverse group of young artists’ work drastically deviated from what was regarded as fantastic art, they weren’t always respected. The neoclassicists prioritized simplicity of color and straight lines, while impressionists sought to utilize lots of colors and visible brushstrokes, or occasionally no brushes, to depict what they saw in the open air. The impressionists of this “Impressionist age” had different methods for creating their art and perspectives on what it meant to be an artist different from previous artists. Impressionism is frequently displayed in the best museums in the world even in modern life.
The most prominent and early impressionist painters, such as Claude Monet, Alfred Sisley, Camille Pissarro, Mary Cassatt, Vincent Van Gogh and Edgar Degas, were brought together by their desire to abandon the rigid conventions of academic painting. These impressionist painters agreed to paint very plainly the things they saw, felt, and thought. They had no interest in depicting history, mythology, or the lives of great individuals, nor did they seek artistic perfection. Impressionists instead attempted to capture on canvas an “impression” of how a landscape, object, or person appeared to them at a particular instant. This frequently necessitated the use of considerably lighter and looser brushwork. They discovered that by working fast, in front of their subjects, and outside in the open air, they could capture sunlight’s transient and fleeting effects.
Although the French artists linked with impressionism did not all paint in the same manner of Plein air painting , they did use similar contemporary painting techniques. Many Impressionists painted outdoors in the open air. This method pushed the artists to work rapidly yet enabled them to catch the transient effects of natural light. The artists chose not to focus mainly on the small details, instead choosing to employ short, obvious dabs of paint to portray the overall image of their subject. The painters combined complementary colors to represent shadows instead of gray and black paint. Thanks to the development of synthetic pigments, the paints themselves were also lighter than those applied in earlier times. The artists softened the forms by painting over wet layers with fresh coats of paint, creating a distinctive interplay of colors. Rarely were the layers transparent; instead, the program introduced opaque color dimensions.
The Impressionist movement also rejected official art exhibitions and painting competitions organized by the French government or any art institute, opting instead to organize their own group exhibitions, which were first met with great hostility by the public. All of these actions by the impressionist group anticipated the birth of modern art and the related avant-garde philosophy. The first group exhibition featured pieces by Monet, Auguste Renoir, Edgar Degas, and Paul Cezanne and was held in Paris in 1874. The artwork displayed was met with disdain, with Monet’s Impression and Sunrise singled out for particular mockery and lending its moniker to the exhibition.
The Impressionists developed a model of freedom and subjectivity that encouraged the artistic freedom many previous painters yearned for many years. Impressionists fought against traditional subject matter and championed modernism because they wanted to produce art that accurately captured their environment. What connected them was an emphasis on how color could describe a moment in time rather than black lines. Later, younger artists who went much further than they did were inspired by their examples. Even today, impressionism continues to influence artists. Modern impressionism still emphasizes playful lighting, colorful patterns, sceneries from daily life, and transitory moments.
History of Impressionism
The Beginnings of Impressionism – 1860s
The beginning of impressionism was in the 1860s when a group of painters led by Claude Monet, Alfred Sisley, and Pierre-Auguste Renoir collaborated to explore Plein air painting. John Rand, an American painter who lived in London, never entered their ranks as an accomplished artist. But, In 1841, he did create a tool that would change the face of painting: the paint in a tube. His ingenious new invention made pre-mixed paint easily transportable and allowed painters to work outdoors. The impressionists’ art was able to express spontaneity and a casual character, thanks to Rand’s technological advancement. With the involvement of additional artists, the practice eventually transitioned from indoor workshops to outside cafes, with frequent get-togethers to exchange ideas.
Edouard Manet is frequently referred to as an impressionist due to his early effect on and strong relationships with the movement’s participating artists. The spontaneity of his brushwork, as well as his use of color and lighting, were adopted by the Impressionists. Le Dejeuner sur l’Herbe, which he painted in 1863, exemplifies all these characteristics. The Impressionism movement premised its public in 1874 during a display by Félix Nadar’s Parisian photography studio. The Académie des Beaux-Arts’ Salon de Paris, which had served as the legitimate exhibition and guardian of standards within the visual arts world since 1667, was replaced by the first exhibition. The group “The Cooperative and Anonymous Association of Painters, Sculptors, and Engravers” featured thirty artists exhibiting artworks. The group’s works were submissions to Salon that the Académie had rejected.
Early Influences on Impressionism
A strong public outcry resulted from the official salon’s 1863 refusal to let many painters join in exhibiting their work. For artists turned down by the official salon, they established the Salon des Refusés and the Société des Artistes Independents. This group resisted the conservative tribunals of Paris in their policies. Many viewers believed the work did not use French painting techniques and did not adhere to the French people’s traditional ways. These paintings included Impression: Le Dejeuner sur ‘Herbe by Manet, an odd-looking picture of a young woman in white (The White Girl, Symphony in White, No. 1) and Monet’s painting, Sunrise.
The impressionists formed the Salon des Refuse, which they recognized as their own exhibition stage to display to the public their conception of art and their manner of creativity, as a result of being denied by the Academy salon jury and other state-sanctioned exhibitions. The latter felt forced to start their movement in Paris as a result.
Japanese influence was another early influence. This innovative approach, inspired by ukiyo-e art prints in the Japanese manner, was developed simultaneously with photography. The ukiyo-e style used foreshortening (angling an object toward a viewer to change the allusion to a three-dimensional perspective on a two-dimensional surface) asymmetry to invoke movement and action within a scene. For the Impressionist artists, this technique from the East was a crucial tool in their exploration of a new, modern painting style.
First Impressionist Exhibition – 1874
The major issue the impressionists encountered was that the conservative arts elite detested the new style of painting they were inventing, which used bold, unblended brushstrokes to portray contemporary scenes. It was important. The greatest method for an artist to succeed was to show their work at the yearly Salon des Beaux Arts, which was run by the Fine Arts Academy, and to receive positive feedback, sales, and commissions. But the Academy des Beaux Arts frequently rejected the paintings of the impressionists. And when they gained acceptance, as Manet’s Olympia did in 1865, the critics condemned them.
The impressionists initially discussed the notion of organizing an independent exhibition in the 1860s as a result of the art establishment’s harsh treatment. However, these ideas were shelved due to a lack of funding, optimism that conditions would improve, and the Franco-Prussian War in 1870–1871. The first impressionist exhibition did not take place until 1874. A total of 165 pieces by thirty artists were on display. The crowd mostly came to laugh, the reviewers panned the majority of the artworks, and many impressionist paintings were not sold. However, the impressionists continued to try despite this by holding a second impressionist exhibition. Paul Cézanne and Paul Gauguin, whose latter styles sprang out of their early work with the Impressionists, also took part in the independent exhibitions. In total, they hosted eight impressionist exhibitions between 1874 and 1886.
Final Impressionist Exhibition – 1886
With the eighth and final impressionist exhibition in 1886, the Impressionist Era ended. In 1882, the penultimate impressionist exhibition took place. The exhibition featured paintings by Renoir, Monet, Pissarro, and other impressionists, including Berthe Morisot and Gustave Caillebotte. At this point, Cezanne had long ago quit exhibiting, and Degas had also missed this year. Degas refused to participate in the Seventh Exhibition because his request to include non-impressionists in the show had been disregarded, which caused a rift in the community. In contrast, the exhibition garnered a lot of favorable feedback and generated a lot of sales. Therefore, even if the Seventh Exhibition revealed divisions among the impressionist movement, it also showed that it was still active at the time. The oldest artist, Pissarro, was the only artist to participate in all eight exhibitions; Morisot took part in seven. The Impressionist movement took place between 1860 and 1886.
Psychology of Impressionism
The psychology of impressionism contends that since everything we comprehend is filtered through our minds and each of our minds is stuffed with particular and individual memories and emotions, we perceive the world differently. We can’t see the natural or “real” world objectively. French landscapes and the exacting Realism painting movement were the forerunners of Impressionism. In contrast, impressionist paintings lack narrative elements and don’t rely on conventional perspective techniques. They show lively, natural, or affluent leisure situations. The paintings have an unfinished, haphazardly applied appearance that suggests a scene’s impression rather than a precise representation.
In modern life, impressionism plays with our senses. The scene’s transient feeling is revealed through the light and brilliant color. The richness and color of light determine the moment of day and season, and the emotional tone of the painting. Deep yellow flashed in the night, pastel blue fading into midday, and pink melting in the morning sky. Impressionist painters create a hazy outline of emotion using light. These paintings have very tactile, emotional brushstrokes. Their texture enhances their organic and lively quality. Each time you look at an impressionist artwork, new features appear.
Characteristics of Impressionism
The characteristics of impressionism include rapid, sloppy brushstrokes, bright paintings, relative color, clearer view when viewed from a distance and “En plein air” (Painting Outside).
Rapid, sloppy brushstrokes
The rapid, sloppy brushstrokes are the first distinguishing feature. This is likely the Impressionism art characteristic that is most frequently discussed and most easily identified. An Impressionist painting’s unique, small, and loose brushstrokes can be seen when you zoom in on it. This is because the artist frequently doesn’t have a lot of time to finish these paintings.
The fine details are not what impressionist artworks entail entirely. Instead, Impressionist painters aim to “catch” an impression of a moment. And as the artist’s hand glides fast across the surface with short brush strokes, they move quickly and provide little detail. It explains why individual paintbrush strands are frequently visible in the impressionist painting.
Bright paintings
The brightness of the paintings from this movement is the second of the five elements of Impressionism. Although colors and brightness varied by artist and at different stages during the movement, in general, Impressionist works have a lot of brightness. Realism was the art trend that came before Impressionism. Artists frequently utilized black, gray, and brown throughout the Realism movement, producing darker, earthy paintings. Similarly, darker hues are prevalent in baroque paintings. In actuality, many Baroque painters used a dark brown or black color as the “background” on their canvases. They painted the dark brown or black primer before painting the remainder of the artwork.
Impressionists sought to employ unprimed canvases or light “background” colors. They included red, orange, yellow, green, blue, indigo, and violet hues from the spectrum of light in their artwork. They didn’t mix their hues on the canvas. To make the picture seem more lively and alive, they frequently painted complementary hues adjacent to one another. The new skill led to creating colorful, bright, and dynamic paintings by combining hues from the light spectrum on this light “ground” rather than mixing the colors but frequently painting complementary colors close to each other.
Clearer view when viewed from a distance
Because of this characteristic, paintings appear more distinct the farther you are from the canvas. The more closely you examine an Impressionism painting, the less clear and chaotic it appears. You can see the artist’s hand in each brushstroke and dot of paint as you move closer to the painting. But the artwork isn’t very detailed. The scene, the emotion, and the specifics become more obvious as you get farther away from the picture.
“En plein air” (outdoors painting)
The third characteristic is “en plein air”, which refers to painting outdoors. Before Impressionism, paintings were created in a studio. Studios were regulated settings, frequently involving models and apprentices. It was unheard of at the time, but the Impressionists chose to move their canvases outside. They sought to freeze a moment in time and its mood or “impression.” They have to be there on the scene to do it. As a result, they painted “en plein air,” or outside. The finished painting above illustrates that Impressionism features landscapes and outdoor subjects.
Relative Color
Relative color is the opposite of “local color.” The color that an object would appear to be in neutral, white light is referred to as its “local color.” The colors we commonly associate with objects, such as green for grass, white for snow, and blue for the sky, can also be considered “local color.” “Local color” was something that Impressionist artists disliked using. They painted the scene as they saw it, capturing its elements and colors. The artists sought to capture objects in the lighting they observed during particular hours of the day or in particular settings. Since the Impressionists painted “en plein air,” these objects didn’t necessarily have the hues you would naturally associate with them. Instead, they depicted how they appeared.
Impressionism Techniques
Impressionist techniques include broken color, wet-on-wet painting, impasto painting and natural light. The Impressionist Movement’s unique and distinctive painting techniques – considered radical at the time – received hostile criticism from academics, who envisioned fine detail and historic scenes. Impressionists revolutionized art history in the area of Normandy, France; they painted real-world scenes and landscapes, composing them with small and thin but still visible brushstrokes, breaking away from lines and contours. The advent of photography during the period affected Impressionist painting techniques, as the Impressionists were the first to depict people in everyday situations. The rapidly applied brushstrokes offered a quick method of representing the environment and depicting the conditions at a certain time of day.
Broken Color Technique
The “broken color” technique is the most well-known painting method used by Impressionists throughout the nineteenth century. Color is painted on a canvas using small, quick strokes rather than the usual process of painstakingly blending the tones and colors. The result has a “patchwork” aspect, with the strokes giving the impression that light is falling over the figures and objects. The image below by Pierre-Auguste Renoir depicts the broken color technique.
The broken-color technique was invented by Monet and Renoir, who placed little dots of various colors next to one another rather than fully blending them, allowing the viewer’s eye to do the blending. With this technique, Impressionists created objects using mixed and pure color brushes, creating contrasts that were not present in the time’s traditional artworks, which blended colors and required a high level of skill. The majority of the work done in the artist’s studio was to depict lines and contrasts accurately. Broken color is very frequently employed in paintings today.
Wet on wet painting
The wet on wet painting technique entails the practice of applying layers of wet paint on things without waiting for each stroke to dry. This method allows for more innovative color mixing and looser, softer edges.
The painting above illustrates the wet-on-wet painting technique. It depicts the painting’s delicate boundaries between hues.
Impasto painting
Impasto is a technique of painting that uses visible, short, and thick brushstrokes that stick out from the surface to give objects height and depth. It gave the artwork texture and made the brushstrokes noticeable. While using this method, painters mixed the paint on the canvas. Impressionists normally did not do much mixing. Impressionist painters widely utilized this style because it gives the appearance that objects and subjects are not a part of the canvas. The image below by Edgar Degas illustrates how objects are given height and depth.
Natural Light
This impressionist technique suggests that the lighting for each scene or landscape is painted as close to reality as possible for the time of day indicated. It gives a fantastic “impression” of the current sunlight portrayed in each piece of art. The dusk sceneries’ blending of colors or the morning scenes’ dazzling colors provide the conditions in the artwork with a very realistic picture.
Impressionism artists
Some of the most well-known impressionist artists include Claude Monet, Edgar Degas, Berthe Morisot, Camille Pissarro, and Pierre-Auguste Renoir. See below for more information. For a full list, see our dedicated Impressionism Artists page.
Claude Monet (1840–1926)
- Full Name Oscar-Claude Monet
- Born November 14, 1840 (Paris, France)
- Died December 5, 1926 (Giverny, France)
- Notable Artwork Water Lilies series
He is the artist most closely linked to impressionism. It is partly attributable to his 1872 painting Impression, Sunrise. The picture, which represents the bay in his city, embodies several traits that make it unique to the movement, including its dense brushwork and emphasis on light. Impression, Sunrise was exhibited at the first Impressionist exhibition in 1874 and later served as the model for the movement’s now-famous name. In addition to Impression Sunrise, Monet’s latter works are highly regarded. Monet expanded his Impressionist practice throughout his life.
Edgar Degas (1834–1917)
- Full Name Hilaire-Germain-Edgar De Gas
- Born July 19, 1834 (Paris, France)
- Died September 27, 1917 (Paris, France)
- Notable Artwork The Dance Class
He was not as concerned with light and nature as other painters in the impressionist circle were. Instead, he favored capturing intimate interior scenes. His collection of ballet paintings, which feature studio and stage settings, and his voyeuristic pastel series of women using the restroom demonstrate this passion. Horseback riders frequently appear in Degas’ work while being less common than ballerinas and bathers.
Read more at the Edgar Degas Biography page.
Berthe Morisot (1841–1895)
- Full Name: Berthe Marie Pauline Morisot
- Born: January 14, 1841 (Bourges, France)
- Died: March 2, 1895 (Paris, France)
As a female artist, she established herself in the predominantly male impressionist painting realm. She created little oil and pastel paintings on canvas that had not been primed, giving her work a peculiar, almost unfinished aspect. She also liked white pigment planes since they sharply contrasted with her aggressive black accents. She is frequently called the “virtuoso colorist” of Impressionism due to her distinct use of color.
Read more on our Berthe Morisot Biography page.
Camille Pissarro (1830–1903)
- Full Name Jacob Abraham Camille Pissarro
- Born July 10, 1830 (Saint Thomas, Danish West Indies)
- Died November 13, 1903 (Paris, France)
- Notable Artwork Boulevard Montmartre series
Pissarro, born and raised on the island of St. Thomas, was the oldest painter in the Impressionist group and the only one to participate in all eight exhibitions. Like his contemporaries, Pissarro used rapid painting techniques to capture landscapes and people in their natural environments. Paul Cézanne, among other significant artists, benefited from his role as an influential teacher. Pissarro was also of the few Impressionist artists to fully immerse himself in the later post-Impressionism style, including techniques like pointillism in his artwork.
Read more on our Camille Pissarro Biography page.
Pierre Auguste-Renoir (1841–1919)
- Full Name Pierre-Auguste Renoir
- Born February 25, 1841 (Limoges, France)
- Died December 3, 1919 (Cagnes-sur-Mer, France)
- Notable Artwork Luncheon of the Boating Party
Pierre-Auguste Renoir is mainly known as a portraitist, noted for his tender portrayals of friends, family, and other artists. His depictions, which are frequently outside and include The Luncheon of the Boating Party, are vibrantly colored and lit by dappled sunshine. The artist often used female characters, whose beauty he loved, when not depicting huge crowds.
Read more at our Pierre-Auguste Renoir Biography page.
Impressionism Artworks
Some of the most famous impressionism artworks include Dejeuner sur l’Herbe, Impression Sunrise, The Dance Class, Luncheon of the Boating Party, and The Boulevard Montmartre on a Winter Morning. Main impressionist subjects were landscapes and scenes of everyday life.
Dejeuner sur l’Herbe (Lunch on the Grass)
- Artwork Name: Dejeuner sur l’Herbe
- Artist: Edouard Manet
- Year: 1862-1863
- Medium: Oil on canvas.
- Dimensions: Height: 208 cm (81.8 in); Width: 264 cm (103.9 in)
The most striking feature of Dejeuner sur l’Herbe is the naked women in the foreground. She is depicted in total comfort, gazing brazenly at the observer. The attention is then attracted to the two young men sitting next to her and dressed in contemporary Parisian clothes rather than being from classical periods. A picnic basket that has been knocked over, with bread, peaches, cherries, and even (it seems) an oyster on the forest floor, can be seen in the bottom left corner of the painting. Upon closer study, the woman’s hat and clothing can be seen scattered on the floor. The woman in the middle of the image is dressed in some garment—possibly a nightgown—and appears to be taking a bath. Broad brushstrokes and what seems to be a rapid painting technique were used to depict the forest canopy. The artwork appears “flat,” with the main character’s exposed flesh painted in a consistent, brilliant tone with little to no shade.
Its inaugural exhibition was at the first impressionist movement exhibition. It is not difficult to understand why this canvas startled the aristocratic viewers and the Emperor himself, given that it was the Salon des Refuses main discussion point in 1863. Manet confronts the audience by testing its ethical and aesthetic bounds through her gaze, which engages the viewer on a sexual level. The Salon jury frequently approved the depiction of the human body in symbolic and historical paintings but disapproved of Manet’s decision to depict actual body visuals in a contemporary setting.
Impression Sunrise
- Artwork Name: Impression Sunrise
- Artist: Claude Monet
- Year: 1872
- Medium: Oil on canvas.
- Dimensions: 48 cm × 63 cm (18.9 in × 24.8 in)
- Location: Musée Marmottan Monet
A scene inspired this artwork in the Le Havre harbor. The painting, located on a French harbor, has a foggy background that Monet represents as a mist. The dark containers, where little to no detail is instantly visible to the audience, contrast nicely with the orange and yellow tones. The smaller boats in the front appear to be nearly being driven along by the movement of the water in this beautiful and honest piece. Once more, this has been accomplished with distinct brushstrokes depicting different hues “sparkling” on the sea.
Despite its fame, the painting differs in some respects from Monet’s work from this period and Impressionism as a whole. It doesn’t exhibit much of the Impressionists’ use of color and light. The use of color is relatively controlled, and the paint is done in very thin washes rather than definite brushstrokes of contrasting hues. The only benefit of impasto is to show the reflected sunlight on the sea; in certain areas, the canvas is even visible. A few brushstrokes in the painting suggest the dockyards in the backdrop and the boats in the front in this piece by Monet, who reduced the amount of information to a minimum. The entire painting depicts the artist’s quick effort to freeze a fleeting moment.
The Dance Class
- Artwork Name: The Dance Class
- Artist: Edgar Degas
- Year: 1874
- Medium: Oil paint on canvas.
- Dimensions: 83.5 by 77.2 centimeters (32.9 in × 30.4 in)
- Location: Metropolitan Museum of Art, New York City
Some 24 ladies, including ballerina mothers, watch while a dancer performs an “attitude” for their evaluation. While one dancer in the painting’s center performs for the male teacher, others are seated or standing. The male is Jules Perrot, a well-known European dance instructor. Several of the students’ mothers can be seen watching in the background. Some other dancers are reflected in a big mirror on the wall. A wooden music stand with sheet music sits in the left foreground. An image of a double bass on the ground underneath the frame is displayed.
Luncheon of the Boating Party
- Artwork: Luncheon of the Boating Party
- Artist: Pierre-Auguste Renoir
- Year: 1881
- Medium: Oil on canvas
- Dimensions: 129.9 cm × 172.7 cm (51 in × 68 in)
The painting depicts a group of Renoir’s friends unwinding on a balcony at the Maison Fournaise restaurant along the Seine River in Chatou, France. It combines humans, still life, and landscape in one piece. Gustave Caillebotte, a painter and art patron, is seated in the lower right. Aline Charigot, who would later become Renoir’s wife, can be seen interacting with a little dog named an affenpinscher in the foreground. There is fruit and wine on the table.
Except for the two figures of the proprietor’s daughter Louise-Alphonsine Fournaise, and her brother Alphonse Fournaise, Jr., which are made prominent by this contrast, the diagonal of the railing serves to demarcate the two halves of the composition. One is densely packed with figures, while the other is almost empty. Renoir successfully captured a lot of light in this painting. The enormous balcony next to the sizeable single-headed man wearing a hat is where much of the light enters. The tablecloth and the singlets worn by the two men in the foreground combine to reflect this light and spread it throughout the entire composition.
The Boulevard Montmartre on a Winter Morning
- Artwork Name: The Boulevard Montmartre on a Winter Morning
- Artist: Camille Pissarro
- Year: 1897
- Medium: Oil on canvas.
- Dimensions: 5 1/2 x 32 in. (64.8 x 81.3 cm)
Clear contours are used to attenuate and create the illusion of different buildings in the background that are too subtle for the human eye to discern. Pissarro uses color theory to convey a sense of distance rather than sharp lines. In terms of space, different colors can have a variety of impacts. For example, a dark or heated subtlety will make the same object appear closer, whereas a light or cool nuance will make it appear farther away. It accurately captures the values and ideals of the time. The artist chooses to ignore sharp, noticeable lines while adjusting colors to define curves. A portion of the realism and immersion is lost when precise forms dampen a building’s subtle departure beyond the viewer’s line of sight.
What Art Movement Came After Impressionism?
The art movement that came after Impressionism was Post-Impressionism. In the Western world, France is renowned for being a hub of culture and fine arts. Post-Impressionism was one of many well-known art movements to have its beginnings there. It evolved as a reaction to Impressionism’s limits in the eyes of its supporters. While this artistic style had many characteristics of Impressionism, it also diverged from the latter in significant ways. Some of the most well-known paintings in the world are a part of the post-Impressionist era in art history, and their works are shown in almost every metropolitan museum and national gallery all over the world today.
More Impressionism Artwork on Artchive
| Artwork Name | Artist Name | Year | Medium |
|---|---|---|---|
| Gustave Caillebotte | Naked Woman Lying on a Couch | 1873 | pastel,paper |
| Gustave Caillebotte | Nasturtiums | 1892 | oil,canvas |
| Gustave Caillebotte | Nasturtiums | 1892 | oil,canvas |
| Gustave Caillebotte | Norman Landscape | 1884 | oil,canvas |
| Gustave Caillebotte | Nude on a Couch | 1880 | |
| Gustave Caillebotte | On the Pont De L’Europe | 1876 - 1877 | oil,canvas |
| Gustave Caillebotte | Orchard and avenue of trees | c.1890 - c.1894 | oil,canvas |
| Gustave Caillebotte | Orchids | 1893 | oil,canvas |
| Gustave Caillebotte | Paris, a Rainy Day | 1877 | oil,canvas |
| Gustave Caillebotte | Park in the Snow | c.1888 | oil,canvas |
| Gustave Caillebotte | The Plain of Gennevilliers from the Hills of Argenteuil | 1888 | oil,canvas |
| Gustave Caillebotte | The Pont de Europe (study) | 1876 | oil,canvas |
| Gustave Caillebotte | The Pontoon at Argenteuil | 1886 | oil,canvas |
| Gustave Caillebotte | The Promenade at Argenteuil | 1883 | oil,canvas |
| Gustave Caillebotte | The Wall of the Garden | 1877 | pastel,paper |
| Gustave Caillebotte | The Wall of the Kitchen Garden, Yerres | 1877 | oil,canvas |
| Gustave Caillebotte | The Yellow Boat | 1891 | oil,canvas |
| Gustave Caillebotte | The Yellow Fields at Gennevilliers | 1884 | oil,canvas |
| Gustave Caillebotte | The Yerres, Effect of Ligh | c.1871 - c.1878 | oil,cardboard |
| Gustave Caillebotte | Three Partridges on a Table | c.1880 | oil,canvas |
| Gustave Caillebotte | Peaches, Apples and Grapes on a Vine Leaf | c.1871 - c.1878 | oil,canvas |
| Gustave Caillebotte | Peaches, Nectarines and Apricots | c.1871 - c.1878 | oil,canvas |
| Gustave Caillebotte | Pere Magloire on the Road to Saint-Clair, Etretat | 1884 | oil,canvas |
| Gustave Caillebotte | Petit Gennevilliers, Facade, Southeast of the Artist's Studio, Overlooking the Garden, Spring | oil,canvas | |
| Gustave Caillebotte | Place Saint Augustin, Misty Weather | 1878 | oil,canvas |
| Gustave Caillebotte | Plain of Gennevilliers | 1884 | oil,canvas |
| Gustave Caillebotte | Pont d'Argenteuil | 1885 | oil,canvas |
| Gustave Caillebotte | Portrait of a Man | 1877 | oil,canvas |
| Gustave Caillebotte | Portrait of a Man | 1880 | oil,canvas |
| Gustave Caillebotte | Portrait of a Man Writing in His Study | 1885 | oil,canvas |
