curatorial

Gustave Caillebotte’s Portrait of Richard Gallo is a puzzling composition. The subject sits slightly left of center, arms crossed, on a boldly patterned sofa that appears to defy perspectival logic. The way in which Caillebotte curves the left end of the sofa—with a bold black line where the backrest and bottom cushion meet—is subtle yet unsettling. The right end of the backrest recedes in size, creating a distortion between the viewer’s world and the one Caillebotte creates. This kind of ocular manipulation appears frequently in Caillebotte’s work, but the decorative elements of this painting set it apart. The rich gold, green, and red pattern of the sofa alongside the highly pigmented pillow, created with more thickly applied paint, compete with the figure for the viewer’s attention and almost overshadow him. Caillebotte challenges traditional concepts of portraiture by utilizing such decorative elements in innovative and psychologically impactful ways. In Portrait of Richard Gallo, Caillebotte carefully selected every component of the composition, creating a complex painting that explores modern life in late nineteenth-century Paris.

Richard Gallo (1849–1936), a lifelong friend of the artist, frequently sat for Caillebotte and appeared in at least seven paintings.¹Marie Berhaut, Gustave Caillebotte: Catalogue raisonne des peintures et pastels (Paris: Wildenstein, 1994), 113, 124, 127, 144, 231. Caillebotte painted him in seven paintings: Portrait of Richard Gallo (1878; private collection, Paris), Self Portrait at the Easel (1879; private collection, Paris), The Bezique Game (1880; private collection, Paris), Interior, Woman at the Window (1880; private collection, Paris), Interior: Woman Reading (1880; private collection, Paris), Portrait of Richard Gallo (1881; Nelson-Atkins Museum of Art), and Richard Gallo Walking His Dog Dick (1884; private collection, Paris). The son of a French banker, Gallo attended school with Caillebotte in Paris²Roldophe Rapetti, “Portrait of M. Richard Gallo, Also Known as Richard Gallo and His Dog Dick, at Petit Gennevilliers,” in Anne Distel et al., Gustave Caillebotte: Urban Impressionist, exh. cat. (Chicago: Art Institute of Chicago, 1995), 280. Rapetti cites the Gallo descendants as providing this information. and later became the editor of Le Constitutionnel, a liberal Parisian newspaper.³Berhaut, Gustave Caillebotte, 144. Caillebotte cleverly alludes to Gallo’s profession by including the rival conservative newspaper Le Figaro, seen resting across his lap. In this tightly cropped view of the room, the audacious patterning of the sofa demands the viewer’s attention and occupies a majority of the canvas. Gallo is engulfed in the sea of color and, with his rigid posture and folded arms, appears uncomfortable. The red and green stripes, overlaid with a gold arabesque pattern, are in stark contrast to the room’s muted color and minimal décor. In choosing a piece of furniture as the focal point of the portrait, Caillebotte explores new ideas around the role of interior design and the psychology of space.

Contemporary art critic and novelist Edmund Duranty argued in his essay “La Nouvelle Peinture,” published in 1876, that the interior space of a portrait should reflect a sitter’s identity:

What we need are the special characteristics of the modern individual—in his clothing, in social situations, at home. . . . Surrounding him and behind him are the furniture, fireplaces, curtains, and walls that indicate his financial position, class, and profession.⁴Edmond Duranty, La Nouvelle Peinture: Á propos du Groupe d’Artistes qui expose dans les Galeries Durand-Ruel (Paris: E. Dentu, 1876), 24, 27–28; English translation from “The New Painting,” in The New Painting: Impressionism 1874–1886, ed. Charles S. Moffett, exh. cat. (San Francisco: Fine Arts Museum of San Francisco, 1986), 43–44. For more on Duranty and his ideas of the interior as a reflection of the man, see Pamela J. Warner, Interior Portraiture and Masculine Identity in France, 1789–1914 (Surrey: Ashgate, 2011), esp. 160.

In Portrait of Richard Gallo, however, few trappings of bourgeoishaute bourgeoisie: French for ”the upper middle class“ life are visible. Instead, Caillebotte uses minimal⁵I use this term to refer to how many items are in the painting; it is not to be confused with the design style of “minimalism,” which was not developed until post-World War II. decorative elements for maximum impact, and each element deserves close examination.

First there is the sofa on which Gallo sits. Caillebotte often featured the same pieces of furniture in his paintings, most frequently a taupe divan embossed with small florals and narrow stripes.⁶Although the Oxford English Dictionary defines sofa as “a long, stuffed seat with a back and ends or end,” and divan as “a low bed or couch with no back or ends,” period descriptions classify a divan as a type of sofa, and I am using the terms interchangeably here. Berhaut, Gustave Caillebotte, 124, 127, 144, 150. The paintings Nude on a Couch, Bezique Game, Self-Portrait, and Woman Reading include this divan. In Nude on a Couch (Fig. 1), Caillebotte provides a nearly full view of the divan and its versatility, as the woman in the painting uses a large support pillow under her head, while the other two cushions lean against the wall. In nineteenth-century France, furniture became mass-produced and lower in cost, and items became lighter and more mobile within the home.⁷Elizabeth Benjamin, “The Unhomely Home: Caillebotte’s Interior Paris” (PhD diss., Northwestern University, 2016), 106–7. With its bed-like base and loose back pillows, Caillebotte’s divan could easily be shifted around a room, creating specific vignettes for the artist.

Fig. 1. Gustave Caillebotte, Nude on a Couch, ca. 1880, oil on canvas, 51 x 77 in. (129.5 x 195.6 cm), Minneapolis Institute of Arts. The John R. Van Derlip Fund, 67.67

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A deliberate choice by Caillebotte either way, the green and gold material alongside the pillow adds to the visual noise and unsettling composition for the viewer. A photograph from inside the home of Caillebotte’s brother Martial, once the shared home of the two brothers (Fig. 2), features curtains whose patterns and stripes bear a resemblance to the divan in Portrait of Richard Gallo.⁹Although this photograph dates from 1895–96, after Gustave Caillebotte’s death, it documents the shared apartment they moved into in 1878–79. Unfortunately, Caillebotte’s brother and the piano obstruct the view of the bottom of the curtain. It is therefore impossible to know if the curtains themselves had fringe, which would align with the style of the time, or if Caillebotte might have added a painted fringe as a visual element to guide the linear perspective and ground the sofa within the composition.

Fig. 2. Martial Caillebotte, Martial Caillebotte at Home, 9 rue Scribe (Petit Salon), gelatin silver print, 1895–96, private collection

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Fig. 3. Martial Caillebotte, Martial Caillebotte in Front of his Fireplace, 9 rue Scribe (Petit Salon), gelatin silver print, ca. 1895–96, private collection; repro. in Serge Lemoine, Dans l’intimité des frères Caillebotte: peintre et photographe, exh. cat. (Paris: Culturespaces, 2011)

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While women’s fashion in the 1880s saw the introduction of a wide range of clothing styles and colors, promoted by haute couture houses and fashion publications, the bourgeois male subscribed to uniformity and muted tones in the form of a suit.¹⁰Debra Mancoff, Fashion in Impressionist Paris (London: Merrell, 2012), 50. The style of suit and coat appear repeatedly in Caillebotte’s paintings. The suit’s rise in popularity began after the Industrial Revolution, when the processes of making both fabric and clothing became mechanized, democratizing fashion and making it accessible to people of varied economic classes.¹¹Michael Zakim, “Customizing the Industrial Revolution: The Reinvention of Tailoring in the Nineteenth Century,” Winterthur Portfolio 33, no. 1 (Spring 1998): 42. The suit’s muted color palette appealed to the Parisian flâneurflâneur: French for “stroller”, “lounger”, “saunterer”, or “loafer.” A term popularized by writer Charles Baudelaire to describe a kind of urban male observer. because its uniformity offered anonymity, and its universality rejected aristocratic aesthetics. For politically progressive individuals such as Gallo and Caillebotte, visually aligning with the middle and working classes by wearing a suit became a mechanism for renouncing the old, aristocratic culture of France. Consider here another portrait of Richard Gallo (Fig. 4) from 1878, in which he sports similar bourgeois attire. The long black overcoat and gray pants, with his top hat resting atop the piano by the door, are the signature outerwear of the flâneur. Again, Caillebotte creates tension between Gallo and his interior with his uncomfortable pose and overpowering red Voltaire chairVoltaire chair: An armchair with a low seat and high back.. Instead of filling the room with objects to explore the sitter’s identity, Caillebotte engages key furnishings that create a discussion around contemporary life and interior spaces.

Fig. 4. Gustave Caillebotte, Portrait of Richard Gallo, 1878, oil on canvas, 31 1/2 x 25 9/16 in. (80 x 65 cm), private collection

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Fig. 5. Gustave Caillebotte, Portrait of Richard Gallo, 1881, in its original frame

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The trappings of bourgeois comfort, albeit minimal, are disquieting in juxtaposition with the restrained sitter. Gallo’s folded arms, rigid posture, distant gaze, and slanted pose demonstrate Gallo’s discomfort but also transfer that discomfort to the viewer, who oscillates between being drawn into the space and rejected by it.¹⁴Hollis Clayson makes a similar statement about two of Caillebotte’s other images in her essay, “Threshold Space: Parisian Modernism Betwixt and Between (1869 to 1891),” in Janet McLean, ed., Impressionist Interiors (Dublin: Colorman, 2009), 20–22. The viewer feels forced into the space, and yet Gallo’s position leaves little room for receiving a second individual. His gaze, just to the right of the viewer, provides no hint of personal acknowledgment. With these elements, Caillebotte creates a peek into the anxieties of everyday interior life, a defining feature of a genre scene.

Although Portrait of Richard Gallo does not mirror Duranty’s directive to populate interiors with an array of decorative items that remind one of the sitter’s station, Caillebotte’s own sense of interior decorating did. Photographs show that he filled his home with artwork and other possessions that reflected his interests. One scholar suggests that Portrait of Richard Gallo, with its minimal décor, is an example of Caillebotte “thumbing his nose” at the decorative trends of the time, but this theory neglects Caillebotte’s own maximalist decorative taste and, in a way, dismisses the artist’s clever and deliberate use of the ornamental in his œuvre.¹⁵Elizabeth Benjamin, “The Modern Interior Stripped Bare: Gustave Caillebotte’s Interieur Demeuble,” in Anca I. Lasc, ed., Visualizing the Nineteenth-Century Home: Modern Art and the Decorative Impulse (London: Routledge, 2016), 131. Rather than seeing Caillebotte’s sparse room as a commentary on decorating taste, it seems more prudent to interpret what was included and how those elements impact the viewer.

Caillebotte debuted Portrait of Richard Gallo at the seventh Impressionist Exhibition in 1882¹⁶Catalogue de la 7me Exposition des Artistes Indépendants, exh. cat. (Paris: Morris père et fils, 1882), unpaginated [repr. in, Theodore Reff, ed., Modern Art in Paris: Two-Hundred Catalogues of the Major Exhibitions Reproduced in Facsimile in Forty-Seven Volumes, vol. 23, Impressionist Group Exhibitions (New York: Garland, 1981), unpaginated], as Portrait de M. G. and later gave the painting to Gallo.¹⁷Berhaut, Gustave Caillebotte, 144. In 1907, Gallo moved to Alexandria, Egypt, and gave the painting to his niece, Marthe Rolland.¹⁸Berhaut (Gustave Caillebotte, 138) names a Maurice Rolland as the original inheritor of the painting, but my research shows a marriage certificate between Paul Antione Marius Rolland and Marthe Grandguillot on August 8, 1898, and a death announcement on August 11, 1965, for Marthe Grandguillot, where Maurice Rolland is listed first, indicating that Maurice Rolland was her son. See NAMA curatorial files provenance records for both the marriage certificate and death announcement. It remained in the Rolland family until 1988, when they sold it to Paul and Ellen Josefowitz.¹⁹Henri Malcor, “Richard Gallo,” unpublished manuscript, May 20, 1988, copy in the NAMA curatorial files. In the fall of 1989, Roger Ward, then the curator of European art at the Nelson-Atkins, proposed the acquisition, citing the artist’s rarity in most museum collections of the day.²⁰See Acquisition Proposal, December 15, 1989, and Board Meeting Minutes, Fall 1989, the NAMA curatorial files. Ward noted that while other museums had great examples by Caillebotte, none were portraits, noting, “The picture under consideration would . . . be unique in the United States.”²¹See Acquisition Proposal, December 15, 1989, and Board Meeting Minutes, Fall 1989, the NAMA curatorial files, under “Works in Other U.S. Collections.” Ward’s foresight in acquiring Caillebotte’s portrait provided the Nelson-Atkins with an important piece of the artist’s legacy that complicates the discussion around the interior spaces of nineteenth-century Paris.

Notes

1. Marie Berhaut, Gustave Caillebotte: Catalogue raisonné des peintures et pastels (Paris: Wildenstein, 1994), 113, 124, 127, 144, 231. Caillebotte painted him in seven paintings: Portrait of Richard Gallo (1878; private collection, Paris), Self Portrait at the Easel (1879; private collection, Paris), The Bezique Game (1880; private collection, Paris), Interior, Woman at the Window (1880; private collection, Paris), Interior: Woman Reading (1880; private collection, Paris), Portrait of Richard Gallo (1881; Nelson-Atkins Museum of Art), and Richard Gallo Walking His Dog Dick (1884; private collection, Paris).

2. Roldophe Rapetti, “Portrait of M. Richard Gallo, Also Known as Richard Gallo and His Dog Dick, at Petit Gennevilliers,” in Anne Distel et al., Gustave Caillebotte: Urban Impressionist, exh. cat. (Chicago: Art Institute of Chicago, 1995), 280. Rapetti cites the Gallo descendants as providing this information.

3. Berhaut, Gustave Caillebotte, 144.

4. Edmond Duranty, La Nouvelle Peinture: Á propos du Groupe d’Artistes qui expose dans les Galeries Durand-Ruel (Paris: E. Dentu, 1876), 24, 27–28; English translation from “The New Painting,” in The New Painting: Impressionism 1874–1886, ed. Charles S. Moffett, exh. cat. (San Francisco: Fine Arts Museum of San Francisco, 1986), 43–44. For more on Duranty and his ideas of the interior as a reflection of the man, see Pamela J. Warner, Interior Portraiture and Masculine Identity in France, 1789–1914 (Surrey: Ashgate, 2011), esp. 160.

5. I use this term to refer to how many items are in the painting; it is not to be confused with the design style of “minimalism,” which was not developed until post-World War II.

6. Although the Oxford English Dictionary defines sofa as “a long, stuffed seat with a back and ends or end,” and divan as “a low bed or couch with no back or ends,” period descriptions classify a divan as a type of sofa, and I am using the terms interchangeably here. Berhaut, Gustave Caillebotte, 124, 127, 144, 150. The paintings Nude on a Couch, Bezique Game, Self-Portrait, and Woman Reading include this divan.

7. Elizabeth Benjamin, “The Unhomely Home: Caillebotte’s Interior Paris” (PhD diss., Northwestern University, 2016), 106–7.

8. Elizabeth Benjamin, “All the Discomforts of Home,” in Gustave Caillebotte: The Painter’s Eye, exh. cat. (Chicago: University of Chicago Press, 2015), 94, 261n41.

9. Although this photograph dates from 1895–96, after Gustave Caillebotte’s death, it documents the shared apartment they moved into in 1878–79.

10. Debra Mancoff, Fashion in Impressionist Paris (London: Merrell, 2012), 50. The style of suit and coat appear repeatedly in Caillebotte’s paintings.

11. Michael Zakim, “Customizing the Industrial Revolution: The Reinvention of Tailoring in the Nineteenth Century,” Winterthur Portfolio 33, no. 1 (Spring 1998): 42.

12. D. G. Karraker, Looking at European Frames: A Guide to Terms, Styles, and Techniques (Los Angeles: J. Paul Getty Museum, 2014), 5–6. Edgar Degas (1834–1917) also created his own frames; for example, see Degas’s Junior Milliners, Fig. 10, in this catalogue.

13. See conservation record of treatment by Kate Garland, June 7, 2016, NAMA curatorial files.

14. Hollis Clayson makes a similar statement about two of Caillebotte’s other images in her essay, “Threshold Space: Parisian Modernism Betwixt and Between (1869 to 1891),” in Janet McLean, ed., Impressionist Interiors (Dublin: Colorman, 2009), 20–22.

15. Elizabeth Benjamin, “The Modern Interior Stripped Bare: Gustave Caillebotte’s Interieur Demeuble,” in Anca I. Lasc, ed., Visualizing the Nineteenth-Century Home: Modern Art and the Decorative Impulse (London: Routledge, 2016), 131.

16. Catalogue de la 7me Exposition des Artistes Indépendants, exh. cat. (Paris: Morris père et fils, 1882), unpaginated [repr. in, Theodore Reff, ed., Modern Art in Paris: Two-Hundred Catalogues of the Major Exhibitions Reproduced in Facsimile in Forty-Seven Volumes, vol. 23, Impressionist Group Exhibitions (New York: Garland, 1981), unpaginated], as Portrait de M. G.

17. Berhaut, Gustave Caillebotte, 144.

18. Berhaut (Gustave Caillebotte, 138) names a Maurice Rolland as the original inheritor of the painting, but my research shows a marriage certificate between Paul Antione Marius Rolland and Marthe Grandguillot on August 8, 1898, and a death announcement on August 11, 1965, for Marthe Grandguillot, where Maurice Rolland is listed first, indicating that Maurice Rolland was her son. See NAMA curatorial files provenance records for both the marriage certificate and death announcement.

19. Henri Malcor, “Richard Gallo,” unpublished manuscript, May 20, 1988, copy in the NAMA curatorial files.

20. See Acquisition Proposal, December 15, 1989, and Board Meeting Minutes, Fall 1989, the NAMA curatorial files.

21. See Acquisition Proposal, December 15, 1989, and Board Meeting Minutes, Fall 1989, the NAMA curatorial files, under “Works in Other U.S. Collections.”

conservation

Extensive wet-over-drywet-over-dry: An oil painting technique that involves layering paint over an already dried layer, resulting in no intermixing of paint or disruption to the lower paint strokes. brushwork and reformatting of the canvas by Caillebotte himself verify that Portrait of Richard Gallo was gradually executed over an unknown period of time. The lightweight, tightly woven, plain-weaveplain weave: A basic textile weave in which one weft thread alternates over and under the warp threads. Often this structure consists of one thread in each direction, but threads can be doubled (basket weave) or tripled to create more complex plain weave. Plain weave is sometimes called tabby weave. canvas is unlinedlining: A procedure used to reinforce a weakened canvas that involves adhering a second fabric support using adhesive, most often a glue-paste mixture, wax, or synthetic adhesive., and the canvas reverse is marked with the stenciled stampcanvas stamp: An ink stamp, often present on the reverse of the canvas, signifying the company that sold or prepared the canvas. As these companies sometimes performed framing and restorations, these stamps could also reflect these services. See also supplier mark. of the Parisian color merchantcolor merchant: Also called artist suppliers. Color merchants prepared materials for artists. This tradition dates back to the Medieval period, but the industrialization of the nineteenth century increased their commerce. It was during this time that ready-made paints in tubes, commercially prepared canvases, and standard-format supports were available to artists for sale through these suppliers. It is sometimes possible to identify the supplier from stamps or labels found on the reverse of the artwork. See also canvas stamp, supplier mark, and *color merchant. Dubus (Fig. 6).¹The canvas stencil is located on the upper left quadrant, oriented ninety degrees counterclockwise from the painted portrait: “60­­, B[oul.^D Malesherbe]s Paris / DUBUS / [CO]ULEURS FINES & TOILES à PEINDR[E] / [REN]TOILAGE & RESTAURATION / DE TABLEAUX.” Documentary evidence shows that Dubus supplied canvas, paint materials, and restoration services from this address between 1877 and 1897. “Dubus,” Guide Labreuche: Le guide des fournisseurs de matériel pour artistes, France, XVIIIe–XXe siècles, 2014, https://www.guide-labreuche.com/collection/commerces/dubus. For additional examples, see Sandra Webber, “Colormen and their Marks: A Survey of Nineteenth-Century European Paintings in the Clark Art Institute,” Art Conservator 9, no. 2 (Fall 2014): 19–22. Above a commercially primed white or off-white ground layerground layer: An opaque preparatory layer applied to the support, either commercially or by the artist, to prevent absorption of the paint into the canvas or panel. See also priming layer., Caillebotte appears to have loosely sketched the portrait with a dry medium, perhaps black chalk or charcoal.²The underlying black material visible with magnification aligns with charcoal underdrawings documented in other works by Caillebotte: Boat Moored on the Seine at Argenteuil (ca. 1886–91; Nelson-Atkins Museum of Art) and Calf’s Head and Ox Tongue (ca. 1882; Art Institute of Chicago). See Diana M. Jaskierny, “Gustave Caillebotte, Boat Moored on the Seine at Argenteuil, ca. 1886‒1891,” technical entry in this catalogue, 2022), https://doi.org/10.37764/78973.5.612.2088, and Kelly Keegan and Kirk Vuillemot, “Cat. 3 Calf’s Head and Ox Tongue, c. 1882: Technical Report,” in Caillebotte Paintings and Drawings at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2015), para 27–28, https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/467/p-467-28. While no underlying sketch was apparent with infrared reflectographyinfrared reflectography (IRR): A form of infrared imaging that exploits the behavior of painting materials at wavelengths beyond those accessible to infrared photography. These advantages sometimes include a continuing increase in the transparency of pigments beyond wavelengths accessible to infrared photography (i.e, beyond 1,000 nanometers), rendering underdrawing more clearly. The resulting image is called an infrared reflectogram. Devices that came into common use in the 1980s such as the infrared vidicon effectively revealed these features but suffered from lack of sharpness and uneven response. Vidicons continue to be used out to 2,200 nanometers but several newer pixelated detectors including indium gallium arsenide and indium antimonide array detectors offer improvements. All of these devices are optimally used with filters constraining their response to those parts of the infrared spectrum that reveal the most within the constraints of the palette used for a given painting. They can be used for transmitted light imaging as well as in reflection., black granular particles are visible under the stereomicroscope. For instance, at the intersection of Gallo’s hair and proper right ear, black material rests on top of the white ground and was also swept up into a stroke of pink paint (Fig. 7).

Fig. 6. Detail of the canvas reverse, Portrait of Richard Gallo (1881). The Dubus supplier stamp is located on the proper left quadrant, oriented 90 degrees counterclockwise from the portrait.

fullscreen Fig. 6. Detail of the canvas reverse, Portrait of Richard Gallo (1881). The Dubus supplier stamp is located on the proper left quadrant, oriented 90 degrees counterclockwise from the portrait.

Fig. 7. Photomicrograph of black, dry media, which is likely related to an underdrawing, at the intersection of the sitter’s hair and proper right ear of Portrait of Richard Gallo (1881)

fullscreen Fig. 7. Photomicrograph of black, dry media, which is likely related to an underdrawing, at the intersection of the sitter’s hair and proper right ear of Portrait of Richard Gallo (1881)

The overlap of paint at the edges of forms provides some indication of Caillebotte’s focus as he worked across the canvas, executing the sitter first, before moving to the sofa and wall. Gallo’s face was carefully modeled using a variety of warm and cool paint colors—pink, bright peach, yellow, lavender, and gray—applied with round and flat brushes. Unlike other areas of the portrait, soft blending of the brush integrated paint strokes between the face, beard, and hairline.

Gallo’s pants and jacket were first blocked in with dark purple washeswash: An application of thin paint that has been diluted with solvent.. Where this initial layer is exposed on the proper right thigh, it has a rubbed or scraped appearance that exposes the white ground on the upper points of the canvas weave texture (Fig. 8).³Similar scraping was observed during the technical study of Paris Street; Rainy Day. See Kelly Keegan, “Cat. 2 Paris Street; Rainy Day, 1877: Technical Report,” in Caillebotte Paintings and Drawings at the Art Institute of Chicago, para 52 and fig. 273, https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/p-574-52. Caillebotte scraped into the wet preparatory layers with a few lines of sgraffitisgraffito (pl: sgraffiti): An Italian term meaning “scratched,” in which a compositional design or decoration is created using a sharp tool to scrape into the wet medium (paint, plaster, glaze, slip, etc) and reveal contrasting underlying layers., marking the top of the sitter’s proper left forearm and the folds of his jacket at the elbow. While the suit appears to be a rich black color, in stronger lighting, subtle color variations are evident due to mixtures of red, blue, and black pigments (Fig. 9). One bright blue paint stroke in nearly pure form demarcates the inner sleeve of the proper right arm. Greater contributions of magenta paint produce the warmer tonality of the jacket, whereas the black pants consist of a cool-toned rich black and highlights of warm and cool gray paint.

Fig. 8. Photomicrograph of the dark purple wash visible at the outer edge of Gallo’s thigh, Portrait of Richard Gallo (1881). The wash has a scraped or rubbed appearance that exposes dots of white ground on the high points of the canvas.

fullscreen Fig. 8. Photomicrograph of the dark purple wash visible at the outer edge of Gallo’s thigh, Portrait of Richard Gallo (1881). The wash has a scraped or rubbed appearance that exposes dots of white ground on the high points of the canvas.

Fig. 9. Detail of the subtle magenta and blue paint colors within the dark suit of Portrait of Richard Gallo (1881). The image has been overexposed to make the color variation more apparent.

fullscreen Fig. 9. Detail of the subtle magenta and blue paint colors within the dark suit of Portrait of Richard Gallo (1881). The image has been overexposed to make the color variation more apparent.

The sofa consists of vibrant colors, loose painterly brushwork, and a combination of wet-over-dry and wet-over-wetwet-over-wet: An oil painting technique which involves drawing a stroke of one color across the wet paint of another color. applications. In addition to the thick swirling paint of the upholstery fabric, the textured pillows were executed with thick impastoimpasto: A thick application of paint, often creating texture such as peaks and ridges., multi-colored dabs, stipples, and short paint strokes. At the bottom of the sofa, over the vertical brushwork and pronounced impasto of the fringe-like trim, Caillebotte added his signature and date with bright yellow paint, applied wet-over-dry. In raking illumination, thick underlying paint strokes associated with Gallo’s thigh are visible, indicating that the figure was painted before the newspaper was added (Fig. 10).

Fig. 10. Detail of Gallo’s thigh and newspaper with raking illumination, Portrait of Richard Gallo (1881). Underlying thick, curving paint strokes confirm that the sitter’s thigh was painted before the newspaper was added.

fullscreen Fig. 10. Detail of Gallo’s thigh and newspaper with raking illumination, Portrait of Richard Gallo (1881). Underlying thick, curving paint strokes confirm that the sitter’s thigh was painted before the newspaper was added.

Fig. 11. Four details of Portrait of Richard Gallo (1881), showing the top (a), bottom (b), right (c), and left (d) tacking margins. An arrow marks the crimping pattern on the left tacking margin (d).

fullscreen Fig. 11. Four details of Portrait of Richard Gallo (1881), showing the top (a), bottom (b), right (c), and left (d) tacking margins. An arrow marks the crimping pattern on the left tacking margin (d).

The painting was well developed when Caillebotte decided to reformat the portrait, cropping the canvas and shifting paint from the picture planepicture plane: The two-dimensional surface where the artist applies paint. to what is now the left, top, and bottom tacking marginstacking margins: The outer edges of canvas that wrap around and are attached to the stretcher or strainer with tacks or staples. See also tacking edge. (Fig. 11a-d). The top and bottom edges were cropped by 25.4 and 6.4 mm, respectively. The right tacking edge remained unchanged with a single set of tacks, but paint on the entire left tacking margin confirms that this edge was reduced by an unknown amount. Caillebotte marked the location of the new left edge by scraping the wet paint, forming a smooth vertical band and thick ridge of paint that remains evident on the current picture plane (Fig. 12). Caillebotte moved inward as he scraped down the canvas, widening this band to 1.6 cm at the bottom edge. He may have used a similar method to reformat Bather Preparing to Dive, Banks of the Yerres (1878; private collection), as a slightly angled section of scraped paint is present across the top edge of the picture plane, interrupting the vertical trees of the composition (Fig. 13). Likewise in the execution of Paris Street; Rainy Day (1877; Art Institute of Chicago), Caillebotte made significant revisions, which included scraping of paint and relocating the right edge of the painting at least twice.⁴Keegan, “Cat. 2 Paris Street; Rainy Day, 1877,” para 66 and 70, https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/p-574-69.

Fig. 12. Detail of the left edge of Portrait of Richard Gallo (1881). The scraped band of paint and resulting ridge of paint are evident (upper arrow). Following the format changes to the canvas, Caillebotte continued painting, as later additions of dull yellow-green paint, applied wet-over-dry, pass over the ridge of paint (lower arrow).

fullscreen Fig. 12. Detail of the left edge of Portrait of Richard Gallo (1881). The scraped band of paint and resulting ridge of paint are evident (upper arrow). Following the format changes to the canvas, Caillebotte continued painting, as later additions of dull yellow-green paint, applied wet-over-dry, pass over the ridge of paint (lower arrow).

Fig. 13. Gustave Caillebotte, Bather Preparing to Dive, Banks of the Yerres, 1878, oil on canvas, 46 x 35 in. (117 x 89 cm) private collection. Photo ©: Christie’s Images / Bridgeman Images

fullscreen Fig. 13. Gustave Caillebotte, Bather Preparing to Dive, Banks of the Yerres, 1878, oil on canvas, 46 x 35 in. (117 x 89 cm) private collection. Photo ©: Christie’s Images / Bridgeman Images

Caillebotte presumably stretched the Nelson-Atkins canvas onto the current six-member stretcherstretcher: A wooden structure to which the painting’s canvas is attached. Unlike strainers, stretchers can be expanded slightly at the joints to improve canvas tension and avoid sagging due to humidity changes or aging.,⁵The 2024 treatment involved removing the canvas from the stretcher to perform an edge-lining. At this time, a single set of holes was noted on the outer edges of the current stretcher. Mary Schafer, treatment report, April 29, 2024, NAMA conservation file, 89-35. which consists of two intersecting crossbars and half-lap joinery. A crimping patterncrimping pattern: The folds or waves that form in the canvas due to the pressure of the stretcher pliers when the canvas is stretched., caused by the canvas plierscanvas pliers: A specialized tool used to grip the edge of a canvas and pull it taut across an auxiliary support (i.e. stretcher or strainer) before tacking or stapling in place during this second stretching, is evident on the left tacking margin (Fig. 11d). While the original width of the portrait cannot be determined, the former height was approximately 100.5 cm, making the closest French standard-formatstandard-format supports: Commercially prepared supports available through art suppliers, which gained popularity in the nineteenth century during the industrialization of art materials. Available in three formats figure (portrait), paysage (landscape), and marine (marine), these were numbered 1 through 120 to indicate their size. For each numbered size, marine and paysage had two options available: a larger format (haute) and smaller (basse) format. support the no. 80 figure (146 x 114 cm),⁶David Bomford, Jo Kirby, John Leighton, and Ashok Roy, Art in the Making: Impressionism (London: Yale University Press, 1991), 46. though Caillebotte was also known to place custom orders.⁷Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Painting Light: The Hidden Techniques of the Impressionists (Milan: Skira, 2008), 90.

Following the reformatting, there are indications that Caillebotte resumed painting. A yellow-green paint was added wet-over-dry across the scraped ridge of paint without disrupting its texture (Fig. 12). Caillebotte also appears to have finalized the background wall with a bright pale blue, a color that does not continue onto the top tacking margin (Fig. 11a). This pale blue paint overlapped the top edge of the sofa and modified the contour of Gallo’s head. The x-radiographX-ray radiography (also referred to as x-radiography or radiography): Radiography is an examination tool analogous to the use of X-rays in medicine whereby denser components of a painted composition can be recorded as an inverted shadow image cast on film or a digital X-ray imaging plate from a source such as an X-ray tube. The method has been used for more than a century and is most effective with dense pigments incorporating metallic elements such as lead or zinc. It can reveal artist changes, underlying compositions, and information concerning the artwork’s construction and condition. The resulting image is called an x-radiograph or radiograph. It differs from the uses of X-ray spectrometry in being dependent on the density of the paint to absorb X-rays before they reach the film or image plate and being non-specific as to which elements are responsible for the resulting shadow image. reveals a halo of dense paint around the sitter, and the artist’s lively zigzagging brushwork in this area is also prominent (Fig. 14).⁸See digital x-radiographs, no. 595, NAMA conservation file, 89-35.

Fig. 14. X-radiograph of Portrait of Richard Gallo (1881)

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In addition to the reformatting of the portrait, underlying magenta paint and a vertical stroke of black paint are visible beneath the pale blue of the upper left wall, perhaps related to a drape or some other vertical element that was eliminated from the composition (Figs. 15 and 16). Other minor adjustments were made to the sitter’s head, sofa, and the right pillow.

Fig. 15. Photomicrograph of the upper left background of Portrait of Richard Gallo (1881), showing underlying magenta paint

fullscreen Fig. 15. Photomicrograph of the upper left background of Portrait of Richard Gallo (1881), showing underlying magenta paint

Fig. 16. Infrared reflectogram of Portrait of Richard Gallo (1881), captured at 2100 nanometers

fullscreen Fig. 16. Infrared reflectogram of Portrait of Richard Gallo (1881), captured at 2100 nanometers

The scraped band on the left edge was partly covered by a cool purple-gray, followed by a bronze-colored metallic paint, presumably to integrate the scraped band with the adjacent frame (see Fig. 5). The original frame, a rare example of Caillebotte’s own design, is constructed of pinewood with lapped miter joints. The shallow profile—a variation on the “railway line”⁹Anthea Callen, The Art of Impressionism: Painting Technique and the Making of Modernity (New Haven: Yale University Press, 2000), 197.—has an angular, fluted design that was finished with a muted bronze tone, comprised of metallic flakes and a minimal amount of transparent medium.¹⁰John Twilley, “Original Finishes on the Frame from Gustave Caillebotte’s, Portrait of Richard Gallo,” May 9, 2012, unpublished report, NAMA conservation file, 89-35.

The unlined canvas is discolored and weak. At an unknown time that predates the 1989 acquisition, four canvas tears were repaired with an unknown brown adhesive with a thick, putty-like consistency. A discolored natural resin varnish was removed in 1990. In 2024, the weak canvas was supported by an edge liningedge lining: A conservation technique used to strengthen/repair tacking margins that have weakened or failed. New fabric is adhered to the painting’s damaged tacking margins to allow the stretcher to exert its normal tensioning on the original canvas. See strip lining., and a discolored synthetic varnish was removed. A saturating synthetic varnish was applied,¹¹An 1894 photograph of Pont de l’Europe (1876; Association des Amis du Petit Palais, Geneva) shows the painting unframed with a faint line of discolored varnish. This feature indicates that the painting was varnished while framed, and Caillebotte was amenable to varnishing during this period. See Claude P. J. Ghez, Caroline von Saint-George, Iris Schafer, and Theresa Neuhoff, “Appendix: Historical Photograph and Restoration of the Work,” in Gustave Caillebotte: An Impressionist and Photography, ed. Karin Sagner and Max Hollein, exh. cat. (Munich: Schirn Kunsthalle Frankfurt/Hirmer, 2012), 100–04; cited in Keegan, “Cat. 2 Paris Street; Rainy Day, 1877,” para 96, figure 9B, https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/p-574-96. and pinpoint-size loss, abrasionabrasion: A loss of surface material due to rubbing, scraping, frequent touching, or inexpert solvent cleaning., and distracting cracks, located mainly in the dark clothing, were retouchedretouching: Paint application by a conservator or restorer to cover losses and unify the original composition. Retouching is an aspect of conservation treatment that is aesthetic in nature and that differs from more limited procedures undertaken solely to stabilize original material. Sometimes referred to as inpainting or retouch..

Notes

1. The canvas stencil is located on the upper left quadrant, oriented ninety degrees counterclockwise from the painted portrait: “60­­, B[oul.^D Malesherbe]s Paris / DUBUS / [CO]ULEURS FINES & TOILES à PEINDR[E] / [REN]TOILAGE & RESTAURATION / DE TABLEAUX.” Documentary evidence shows that Dubus supplied canvas, paint materials, and restoration services from this address between 1877 and 1897. “Dubus,” Guide Labreuche: Le guide des fournisseurs de matériel pour artistes, France, XVIIIe–XXe siècles, 2014, https://www.guide-labreuche.com/collection/commerces/dubus. For additional examples, see Sandra Webber, “Colormen and their Marks: A Survey of Nineteenth-Century European Paintings in the Clark Art Institute,” Art Conservator 9, no. 2 (Fall 2014): 19–22.

2. The underlying black material visible with magnification aligns with charcoal underdrawings documented in other works by Caillebotte: Boat Moored on the Seine at Argenteuil (ca. 1886–91; Nelson-Atkins Museum of Art) and Calf’s Head and Ox Tongue (ca. 1882; Art Institute of Chicago). See Diana M. Jaskierny, “Gustave Caillebotte, Boat Moored on the Seine at Argenteuil, ca. 1886‒1891,” technical entry in this catalogue, https://doi.org/10.37764/78973.5.612.2088, and Kelly Keegan and Kirk Vuillemot, “Cat. 3 Calf’s Head and Ox Tongue, c. 1882: Technical Report,” in Caillebotte Paintings and Drawings at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2015), para 27–28, https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/467/p-467-28.

3. Similar scraping was observed during the technical study of Paris Street; Rainy Day. See Kelly Keegan, “Cat. 2 Paris Street; Rainy Day, 1877: Technical Report,” in Caillebotte Paintings and Drawings at the Art Institute of Chicago, para 52 and fig. 273, https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/p-574-52.

4. Keegan, “Cat. 2 Paris Street; Rainy Day, 1877,” para 66 and 70, https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/p-574-69.

5. The 2024 treatment involved removing the canvas from the stretcher to perform an edge-lining. At this time, a single set of holes was noted on the outer edges of the current stretcher. Mary Schafer, treatment report, April 29, 2024, NAMA conservation file, 89-35.

6. David Bomford, Jo Kirby, John Leighton, and Ashok Roy, Art in the Making: Impressionism (London: Yale University Press, 1991), 46.

7. Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Painting Light: The Hidden Techniques of the Impressionists (Milan: Skira, 2008), 90.

8. See digital x-radiographs, no. 595, NAMA conservation file, 89-35.

9. Anthea Callen, The Art of Impressionism: Painting Technique and the Making of Modernity (New Haven: Yale University Press, 2000), 197.

10. John Twilley, “Original Finishes on the Frame from Gustave Caillebotte’s, Portrait of Richard Gallo,” May 9, 2012, unpublished report, NAMA conservation file, 89-35.

11. An 1894 photograph of Pont de l’Europe (1876; Association des Amis du Petit Palais, Geneva) shows the painting unframed with a faint line of discolored varnish. This feature indicates that the painting was varnished while framed, and Caillebotte was amenable to varnishing during this period. See Claude P. J. Ghez, Caroline von Saint-George, Iris Schafer, and Theresa Neuhoff, “Appendix: Historical Photograph and Restoration of the Work,” in Gustave Caillebotte: An Impressionist and Photography, ed. Karin Sagner and Max Hollein, exh. cat. (Munich: Schirn Kunsthalle Frankfurt/Hirmer, 2012), 100–04; cited in Keegan, “Cat. 2 Paris Street; Rainy Day, 1877,” para 96, figure 9B, https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574/p-574-96.

provenance

Given by the artist to the sitter, Richard Gallo (1849‒1936), Paris, probably 1881‒1907 [1];

His gift to his niece, Marthe Rolland (née Grandguillot, 1877‒1965), Paris, 1907‒1965 [2];

By descent to her son, Maurice Rolland (1904‒1988), Paris, 1965‒1988;

By inheritance to his sister, Jeanne Janette Malcor (née Rolland, 1901‒1995), Paris, 1988 [3];

Purchased from Malcor by Paul (1950‒2013) and Ellen Melas Kyriazi Josefowitz, London and Lausanne, August 25‒November 26, 1988 [4];

Purchased from Paul and Ellen Josefowitz by the dealer David Ramus, Atlanta and New York, on joint account with Hirschl and Adler, New York, stock no. 6852/2, November 26, 1988‒1989 [5];

Purchased from David Ramus and Hirschl and Adler by The Nelson-Atkins Museum of Art, Kansas City, MO, 1989.

Notes

[1] In a statement on the painting’s history, dated May 20, 1988, Richard Gallo’s grand-nephew-in-law, Henri Malcor, wrote that Gallo collected a number of paintings from Impressionist artists, to whom he was introduced by his friend Gustave Caillebotte. Ultimately, Gallo only kept the five paintings Caillebotte gave to him, three of which represented Gallo. See “Richard Gallo” by Henri Malcor, May 20, 1988, copy in NAMA curatorial files.

[2] The Caillebotte catalogue raisonné indicates that the painting passed to Gallo’s nephew, Maurice Rolland, at the time of Gallo’s death in 1936. However, Maurice Rolland was actually Gallo’s grand-nephew, and according to Henri Malcor’s statement on Richard Gallo (see note 1), Gallo gave the painting to his niece Marthe in 1907, when Gallo moved to Alexandria, Egypt. The painting then passed to Marthe’s son Maurice Rolland. See Marie Berhaut, Gustave Caillebotte: catalogue raisonné des peintures et pastels (Paris: Wildenstein Institute, 1994), no. 182, p. 144, and “Richard Gallo” by Henri Malcor, May 20, 1988, copy in NAMA curatorial files.

[3] Carole Bonzon-Vachette, Jeanne Malcor’s great-granddaughter, confirmed the family’s sale of the painting following Maurice Rolland’s death in correspondence with Megan Seiler, NAMA, May 27, 2020, NAMA curatorial files.

[4] According to Ellen Josefowitz, in an email to MacKenzie Mallon, NAMA, June 8, 2020, NAMA curatorial files.

[5] See email from Gregory Hedberg, Hirschl and Adler, New York, to Nicole Myers, NAMA, May 11, 2015, and email from Ellen Josefowitz to MacKenzie Mallon, NAMA, June 8, 2020, NAMA curatorial files.

Gustave Caillebotte, Portrait of Richard Gallo, 1878, oil on canvas, 31 1/2 x 25 3/5 in. (80 x 65 cm), private collection, France.

Gustave Caillebotte, Self Portrait in Front of the Easel, 1879, oil on canvas, 35 3/7 x 45 2/7in. (90 x 115 cm), private collection, Paris.

Gustave Caillebotte, Game of Bezique, 1880, oil on canvas, 47 5/8 x 63 2/5 in. (121 x 161 cm), private collection, Paris.

Gustave Caillebotte, Interior, Reading Woman, 1880, oil on canvas, 25 3/5 x 31 1/2 in. (65 x 80 cm), private collection, Paris.

Gustave Caillebotte, Interior, Woman at the Window, 1880, oil on canvas, 45 2/3 x 35 in. (116 x 89 cm), private collection, Paris.

Gustave Caillebotte, Richard Gallo and his Dog at Petit Gennevilliers, 1884, oil on canvas, 35 x 45 2/3 in. (89 x 116 cm), private collection, Paris.

Gustave Caillebotte, Paul the Dog, ca. 1886, oil on canvas, 25 3/4 x 21 3/4 in. (65.4 x 54.2 cm), sold at Masterpieces from the Collection of Sam Josefowitz: A Lifetime of Discovery and Scholarship, Christie’s, London, lot 3, as Le chien “Paul”.

7me Exposition des Artistes Indépendants [7th Impressionist Exhibition], 251 rue Saint-Honoré, Paris, March 1‒31, 1882, no. 5, as Portrait de M. G.

Exposition Rétrospective d’Œuvres de G. Caillebotte, Galerie Durand-Ruel, Paris, June 4‒16, 1894, no. 81, as Portrait de M. R. G.

Gustave Caillebotte: The Unknown Impressionist, Royal Academy of Arts, London, March 28‒June 23, 1996, no. 26, as Portrait of Richard Gallo.

Gustave Caillebotte: The Painter’s Eye, The National Gallery of Art, Washington, DC, June 28‒October 4, 2015; Kimbell Art Museum, Fort Worth, TX, November 8, 2015‒February 14, 2016, no. 25, as Portrait of Richard Gallo.

references

Catalogue de la 7me Exposition des Artistes Indépendants, exh. cat. (Paris: Morris père et fils, 1882), unpaginated [repr. in, Theodore Reff, ed., Modern Art in Paris: Two-Hundred Catalogues of the Major Exhibitions Reproduced in Facsimile in Forty-Seven Volumes, vol. 23, Impressionist Group Exhibitions (New York: Garland, 1981), unpaginated], as Portrait de M. G.

Gaston d’Alq., “Art et bibelots: L’Exposition des Peintres indépendants,” La Liberté (March 2, 1882): 3.

Possibly Fichtre, “L’Actualité: L’Exposition des peintres indépendants,” Le Réveil (March 2, 1882): 1.

Possibly La Fare, “Exposition des Impressionnistes,” Le Gaulois 15, no. 901 (March 2, 1882): 2.

“Les Peintres indépendants,” L’Intransigeant (March 2, 1882): 3.

Jacques Durand, “Échos du jour: Paris,” La Presse 47, no. 61 (March 3, 1882): 1.

Charles Flor, “Deux Expositions,” Le National 14, no. 4735 (March 3, 1882): 2.

Possibly A. Hustin, “L’Exposition des Peintres Indépendants,” L’Estafette (March 3, 1882): 3.

Possibly A. Hustin, “L’Exposition des impressionnistes,” Moniteur des Arts 25, no. 1402 (March 10, 1882): 1.

Henri Rivière, “Aux indépendants,” Le chat noir (April 8, 1882): 4.

Exposition Rétrospective d’Œuvres de G. Caillebotte, exh. cat. (Paris: Galeries Durand-Ruel, 1894), 6, as Portrait de M. R. G.

Marie Berhaut, Gustave Caillebotte, 1848‒1894: Catalogue des peintures et pastels (Paris: Wildenstein, 1951), no. 127, unpaginated, as Portrait de M. G. . . .

Marie Berhaut, Caillebotte, Sa Vie et Son Œuvre: Catalogue Raisonné des Peintures et Pastels (Paris: Fondation Wildenstein, 1978), no. 167, pp. 110, 125, 138, 179, 249, (repro.), as Portrait de Richard Gallo.

Charles S. Moffett, ed., The New Painting, Impressionism, 1874–1886, exh. cat. (Geneva, Switzerland: Richard Burton SA, Publishers, 1986), 379, 394, as Portrait de M. G.

Kirk Varnedoe, Gustave Caillebotte (1987; repr., New Haven, CT: Yale University Press, 2000), 196.

Victor Volland, “Traveling Impressionist Exhibit,” St. Louis Post-Dispatch (May 21, 1989): 2D.

Janet Majure, “How Art Galleries Stay Competitive: Museums’ Practice of Buying, Selling Under Intense Scrutiny in Today’s Market,” Kansas City Star 110, no. 240 (June 10, 1990): I10.

Laura Caruso, “Caillebotte Joins Ranks at Nelson: Museum Pays its Highest Price Ever for Portrait by Impressionist,” Kansas City Star 111, no. 6 (September 23, 1990): J[1], J4, (repro.), as Portrait of M. Richard Gallo.

“New at the Nelson: Impressionist Masterpiece,” Newsletter (The Nelson-Atkins Museum of Art) (October 1990): 2‒3, (repro.), as Portrait of Richard Gallo.

Roger Ward, “Selected Acquisitions of European and American Paintings at the Nelson-Atkins Museum of Art, Kansas City, 1986‒1990,” Burlington Magazine, 133, no. 1055 (February 1991): 153, 156, (repro.).

Alice Thorson, “The Nelson Celebrates its 60th: Museum built its reputation, collection virtually ‘from scratch’,” Kansas City Star 113, no. 304 (July 18, 1993): J5.

Roger Ward and Patricia Fidler, eds., The Nelson-Atkins Museum of Art: Handbook of the Collection (New York: Hudson Hills Press, 1993), 45, 130, 210, (repro.), as Portrait of Richard Gallo.

Marie Berhaut, Gustave Caillebotte: catalogue raisonné des peintures et pastels (Paris: Wildenstein Institute, 1994), no. 182, p. 144, (repro.) as Portrait de Richard Gallo.

Gustave Caillebotte: 1848‒1894, exh. cat. (Paris: Éditions de la Réunion des musées nationaux, 1994), 220‒21, 237, 240, 242, 292, 358, 373, 375, (repro.), as Portrait de Richard Gallo [repr., Gustave Caillebotte: The Unknown Impressionist, exh. cat. (London: Royal Academy of Arts, 1996), 105‒06, 123, 128‒29, 137, 212, (repro.), as Portrait of Richard Gallo].

Ruth Berson, The New Painting: Impressionism 1874–1886; Documentation (San Francisco: Fine Arts Museums of San Francisco, 1996), no. VII-5, pp. 1:377, 379, 386‒87, 389, 395, 398, 401, 409; 2:201, 215, (repro.), as Portrait de M. G.

Gustave Caillebotte, 1848–1894: Dessins, Pastels et Peintures, exh. cat. (Paris: Brame et Lorenceau, 1998), 19, as Portrait de M. G.

Patrick Shaw Cable, “Questions of Work, Class, Gender, and Style in the Art and Life of Gustave Caillebotte” (Ph.D. diss., Case Western Reserve University, 2000), vii, 48, 179‒80, 180n312, 259, (repro.), as Portrait of M. G.

Impressionist and Modern Art Evening Sale (London: Christie’s, February 6, 2001), 34, as Portrait de Richard Gallo.

Alice Thorson, “Nelson curator of European art heading to Florida,” Kansas City Star (August 19, 2001): I4.

Impressionist and Modern Art Day Sale (London: Christie’s, February 5, 2002), 34.

Caillebotte: Au cœur de l’impressionnisme, exh. cat. (Lausanne: Bibliothèque des Arts, 2005), 177, as Portrait de M. G.

Alice Thorson, “Nelson Makeover: Euro Edition,” Kansas City Star 126, no. 281 (June 25, 2006): G7, as Portrait of Richard Gallo.

Anne-Birgitte Fonsmark, Dorothee Hansen, and Gry Hedin, Gustave Caillebotte, exh. cat. (Ostfildern, Germany: Hatje Cantz, 2008), 87n6.

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 35, 122, (repro.), as Portrait of Richard Gallo.

Karin Sagner, Gustave Caillebotte: Neue Perspektiven des Impressionismus (Munich: Hirmer Verlag, 2009), 10, 73, 102, 142, 176, (repro.), as Porträt Richard Gallo.

Shimbata Yasuhide, Gustave Caillebotte: Impressionist in Modern Paris, exh. cat. (Tokyo: Bridgestone Museum of Art, 2013), 76, 258.

Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter’s Eye, exh. cat. (Washington: National Gallery of Art, 2015), 16, 36, 40‒41, 53, 154, 164‒65, 174‒75, 277, (repro.), as Portrait of Richard Gallo.

Sylvain Amic and Diederik Bakhuÿs, Scènes de la vie impressionniste: Manet, Renoir, Monet, Morisot, exh. cat. (Rouen: Musée des Beaux-Arts, 2016), 76, 93, as Portrait de Richard Gallo.

Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 65, (repro.).

Michael Marrinan, Gustave Caillebotte: Painting the Paris of Naturalism, 1872‒1887 (Los Angeles: Getty Research Institute, 2016), 265, 266, 281n55, (repro.), as Portrait of Richard Gallo.

Lexie Sharabianlou, “Why audio tours still work: storytelling that immerses, excites, and inspires listeners,” Blooloop.com (August 13, 2019): http://blooloop.com/guru-audio-tours-still-work/., (repro.), as Portrait of Richard Gallo.

Impressionist and Modern Art Evening Sale (New York: Sotheby’s, November 12, 2019), (repro.) as Portrait of Richard Gallo.