In a similar manner as his forerunners, “Jean-Francois Millet and Gustave Courbet,” Caillebotte intended to paint reality as it existed and as he saw it, planning to decrease painting's characteristic showiness ("Gustave Caillebotte Biography"). Maybe due to his cozy association with so a large number of his companions, his style and method shifts significantly among his works, as though obtaining and testing, yet not so much adhering to any one style. He shares the Impressionists' dedication to "optical truth" and utilizes an impressionistic pastel-non-abrasiveness and free brush strokes most like “Renoir and Pissarro,” however with a less energetic palette ("Gustave Caillebotte Biography"). It is Caillebotte's points of view — his wide-calculated, all-encompassing perspectives — that shade the artistic creations with pity. The zooming edges and pushing spaces are brave, convincing, sensational and absolutely unique. He stopped demonstrating his work at age 34 and gave himself to planting and to building and dashing yachts, and invested much energy with his sibling, Martial, and his companion Renoir, who frequently came to remain at Petit-Gennevilliers, and