Abstract
Gustave Caillebotte (Fig. 1) has long been considered as an odd man out in the circle of the French Impressionist. A wealthy amateur, a friend and a supporter of these artists, Caillebotte amassed a stunning collection of their work, which he bequeathed to the State at his death in 1894, and which was at the basis of the collections of Impressionist art in France1.
The Impressionist painters created a revolution in the Art of late nineteenth century. Actually, they were supported by few devoted art lovers, such as Caillebotte, and dealers who played an important part in this aesthetic upheaval. Théodore Duret said that "the public that laughs so loudly while looking at the Impressionists is in for an even bigger surprise: their paintings sell!"2. They had a bad reception in the public and the Press, because people were used to academic paintings and art 'pompier'3, but the Impressionist market was an operation of speculation organized by merchant such as Durand-Ruel, Vollard and Tanguy, and therefore it was totally dissociated from the public4. Impressionist was criticized of course, but their market was more and more flourishing. Important impressionist sale took place between 1875 and 1899, and Caillebotte was one of buyers5.
France political system had changed and after many upheavals, the old monarchy was from then on, replaced by a new Republic. Despite the fact many politics tried to change the Beaux-Art system into a Republican organization, the State remained strongly influenced by the Academy6. Therefore, in the National Museum, there were mostly official academic paintings and other tendencies were not truly represented. The official art of the Academy was in conflict with the independent art, defended by Impressionist7.
This essay will be based on Caillebotte's bequest and how the State receipt and promoted Impressionist artists. Various theses about the 'affaire Caillebotte' will be equally considered in order to determine what the consequences of the Affair Caillebotte are on the State policy for the art and on the recognition of the Impressionist.
