Pierre-Auguste Renoir

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Pierre-Auguste Renoir
Birth name	Pierre-Auguste Renoir
Born	February 25, 1841(1841-02-25) Limoges, Haute-Vienne, France
Died	December 3, 1919 (aged 78) Cagnes-sur-Mer, Provence-Alpes-Côte d'Azur, France
Nationality	French
Field	Painting
Works	Bal au moulin de la Galette, Montmartre, 1876 Luncheon of the Boating Party ,1880 Nude (painting), 1910

Pierre-Auguste Renoir (February 25, 1841–December 3, 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau".^[1]

Contents 1 Biography 1.1 Youth 1.2 Maturity 1.3 Later years 2 Artworks 3 Assessment 4 Posthumous sales 5 See also 6 Gallery 7 Renoir and the nude 8 Selected works 9 Bibliography 10 References 11 Related links 12 External links

[edit] Biography

[edit] Youth

Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, the child of a working class family. As a boy, he worked in a porcelain factory where his drawing talents led to him being chosen to paint designs on fine china.^[2] He also painted hangings for overseas missionaries and decorations on fans before he enrolled in art school.^[3] During those early years, he often visited the Louvre to study the French master painters.

In 1862 he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet.^[4] At times during the 1860s, he did not have enough money to buy paint. Although Renoir first started exhibiting paintings at the Paris Salon in 1864,^[5] recognition did not come for another ten years, due, in part, to the turmoil of the Franco-Prussian War.

During the Paris Commune in 1871, while he painted on the banks of the Seine River, some members of a commune group thought he was a spy, and were about to throw him into the river when a commune leader, Raoul Rigault, recognized Renoir as the man who had protected him on an earlier occasion.^[6]

In 1874, a ten-year friendship with Jules Le Coeur and his family ended,^[7] and Renoir lost not only the valuable support gained by the association, but a generous welcome to stay on their property near Fontainebleau and its scenic forest. This loss of a favorite painting location resulted in a distinct change of subjects.

[edit] Maturity

Renoir experienced his initial acclaim when six of his paintings hung in the first Impressionist exhibition in 1874. In the same year two of his works were shown with Durand-Ruel in London.^[8]

In 1881, he traveled to Algeria, a country he associated with Eugène Delacroix, then to Madrid, in Spain, to see the work of Diego Velázquez. Following that he traveled to Italy to see Titian's masterpieces in Florence, and the paintings of Raphael in Rome. On January 15, 1882 Renoir met the composer Richard Wagner at his home in Palermo, Sicily. Renoir painted Wagner's portrait in just thirty-five minutes. In the same year, Renoir convalesced for six weeks in Algeria after contracting pneumonia, which would cause permanent damage to his respiratory system.^[9]

In 1883, he spent the summer in Guernsey, creating fifteen paintings in little over a month. Most of these feature Moulin Huet, a bay in Saint Martin's, Guernsey. Guernsey is one of the Channel Islands in the English Channel, and it has a varied landscape which includes beaches, cliffs, bays, forests, and mountains. These paintings were the subject of a set of commemorative postage stamps, issued by the Bailiwick of Guernsey in 1983.

While living and working in Montmartre, Renoir employed as a model Suzanne Valadon, who posed for him (The Bathers, 1885-7; Dance at Bougival, 1883)^[10] and many of his fellow painters while studying their techniques; eventually she became one of the leading painters of the day.

In 1887, a year when Queen Victoria celebrated her Golden Jubilee, and upon the request of the queen's associate, Phillip Richbourg, he donated several paintings to the "French Impressionist Paintings" catalog as a token of his loyalty.

In 1890 he married Aline Victorine Charigot, who, along with a number of the artist's friends, had already served as a model for Les Déjeuner des canotiers (Luncheon of the Boating Party, 1881), and with whom he had already had a child, Pierre, in 1885.^[11] After his marriage Renoir painted many scenes of his wife and daily family life, including their children and their nurse, Aline's cousin Gabrielle Renard. The Renoirs had three sons, one of whom, Jean, became a filmmaker of note and another, Pierre, became a stage and film actor.

[edit] Later years

Around 1892, Renoir developed rheumatoid arthritis. In 1907, he moved to the warmer climate of "Les Collettes," a farm at Cagnes-sur-Mer, close to the Mediterranean coast.^[12] Renoir painted during the last twenty years of his life, even when arthritis severely limited his movement, and he was wheelchair-bound. He developed progressive deformities in his hands and ankylosis of his right shoulder, requiring him to adapt his painting technique. In the advanced stages of his arthritis, he painted by having a brush strapped to his paralyzed fingers.^[13]

During this period he created sculptures by directing an assistant who worked the clay. Renoir also used a moving canvas, or picture roll, to facilitate painting large works with his limited joint mobility.

In 1919, Renoir visited the Louvre to see his paintings hanging with the old masters. He died in the village of Cagnes-sur-Mer, Provence-Alpes-Côte d'Azur, on December 3.

[edit] Artworks

Renoir's paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of color, so that his figures softly fuse with one another and their surroundings.

His initial paintings show the influence of the colourism of Eugène Delacroix and the luminosity of Camille Corot. He also admired the realism of Gustave Courbet and Édouard Manet, and his early work resembles theirs in his use of black as a color. As well, Renoir admired Edgar Degas' sense of movement. Another painter Renoir greatly admired was the 18th century master François Boucher.^[14]

A fine example of Renoir's early work, and evidence of the influence of Courbet's realism, is Diana, 1867. Ostensibly a mythological subject, the painting is a naturalistic studio work, the figure carefully observed, solidly modeled, and superimposed upon a contrived landscape. If the work is still a 'student' piece, already Renoir's heightened personal response to female sensuality is present. The model was Lise Tréhot, then the artist's mistress and inspiration for a number of paintings.^[15]

In the late 1860s, through the practice of painting light and water en plein air (in the open air), he and his friend Claude Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them. Several pairs of paintings exist in which Renoir and Monet, working side-by-side, depicted the same scenes (La Grenouillère, 1869).[1][2]

One of the best known Impressionist works is Renoir's 1876 Dance at Le Moulin de la Galette (Le Bal au Moulin de la Galette). The painting depicts an open-air scene, crowded with people, at a popular dance garden on the Butte Montmartre, close to where he lived.

The works of his early maturity were typically Impressionist snapshots of real life, full of sparkling colour and light. By the mid-1880s, however, he had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women, such as The Bathers, which was created during 1884-87. It was a trip to Italy in 1881, when he saw works by Raphael and other Renaissance masters, that convinced him that he was on the wrong path, and for the next several years he painted in a more severe style, in an attempt to return to classicism.^[16] This is sometimes called his "Ingres period", as he concentrated on his drawing and emphasized the outlines of figures.^[17]

After 1890, however, he changed direction again, returning to the use of thinly brushed color which dissolved outlines as in his earlier work. From this period onward he concentrated especially on monumental nudes and domestic scenes, fine examples of which are Girls at the Piano, 1892, and Grandes Baigneuses, 1918-19. The latter painting is the most typical and successful of Renoir's late, abundantly fleshed nudes.^[18]

A prolific artist, he made several thousand paintings. The warm sensuality of Renoir's style made his paintings some of the most well-known and frequently-reproduced works in the history of art.

[edit] Assessment

Acknowledging modern criticism of Renoir's sensuality, Lawrence Gowing wrote:

“

"Is there another respected modern painter whose work is so full of charming people and attractive sentiment? Yet what lingers is not cloying sweetness but a freshness that is not entirely explicable...One feels the surface of his paint itself as living skin: Renoir's aesthetic was wholly physical and sensuous, and it was unclouded...These interactions of real people fulfilling natural drives with well-adjusted enjoyment remain the popular masterpieces of modern art (as it used to be called), and the fact that they are not fraught and tragic, without the slightest social unrest in view, or even much sign of the spacial and communal disjunction which some persist in seeking, is far from removing their interests." [19]

”

Albert Aurier, an art critic and early essayist on the impressionists, wrote in 1892:

“

"With such ideas, with such a vision of the world and of femininity, one might have feared that Renoir would create a work which was merely pretty and merely superficial. Superficial it was not; in fact it was profound, for if, indeed, the artist has almost completely done away with the intellectuality of his models in his paintings, he has, in compensation, been prodigal with his own. As to the pretty, it is undeniable in his work, but how different from the intolerable prettiness of fashionable painters." [20]

”

In a preview to the exhibition 'Renoir Landscapes 1865-1883' at the National Gallery, London in spring 2007, The Guardian wrote that "Even Degas laughed at his friend's style, calling it as puffy as cotton wool," but that "if we're going to love him, we need to love his chocolate box qualities, too."^[21]

[edit] Posthumous sales

Two of Renoir's paintings have sold for more than $70 million. Bal au moulin de la Galette, Montmartre sold for $78.1 million in 1990.

[edit] See also

• History of painting
• Western painting

[edit] Gallery

La Grenouillère, 1868, National Museum, Stockholm, Sweden	Portrait of Alfred Sisley, 1868	Claude Monet Painting in His Garden at Argenteuil, 1873, Wadsworth Athenaeum, Hartford, Connecticut	Portrait of Claude Monet, 1875, Musée d'Orsay, Paris, France
Mme. Charpentier and her children, 1878, Metropolitan Museum of Art, New York	By the Water, 1880, Art Institute of Chicago, Chicago, Illinois	Luncheon of the Boating Party, 1880-1881, The Phillips Collection Washington, DC	Portrait of Charles and Georges Durand-Ruel, 1882
The Country Dance, 1883, Musée d'Orsay, Paris, France	Girl With a Hoop, 1885	Girl Braiding Her Hair (Suzanne Valadon), 1885	Portrait of Berthe Morisot and daughter Julie Manet, 1894
The Artist's Family, 1896, The Barnes Foundation, Merion, Pennsylvania	Portrait of Ambroise Vollard, 1908	Portrait of Paul Durand-Ruel, 1910	Self-portrait, 1910

[edit] Renoir and the nude

Diana the Huntress, 1867, The National Gallery of Art Washington, DC	Nude In The Sun, 1875, Musée d'Orsay, Paris, France	Seating Girl, 1883	The Large Bathers, 1887, Philadelphia Museum of Art, Philadelphia, Pa.
After The Bath, 1888	Three Bathers, 1895, Cleveland Museum of Art Cleveland, Ohio	Woman on a Couch (Gabrielle), 1906-1907	After The Bath, 1910, Barnes Foundation, Merion Pennsylvania
Woman At The Well, 1910	Seated Bather Drying Her Leg, 1914, Musee de l'Orangerie, Paris, France	Women Bathers, 1916, National Museum, Stockholm, Sweden	Bathers, 1918, Barnes Foundation, Merion Pennsylvania

[edit] Selected works

[edit] Bibliography

• Claude Roger-Marx (1952). Les Lithographies de Renoir. Monte-Carlo: Andre Sauret. 
• Joseph G. Stella (n. d.). The Graphic Work of Renoir: Catalogue Raisonne. London: Lund Humphries. 
• Jean Leymarie et Michel Melot (1971). Les Gravures Des Impressionistes, Manet, Pissarro, Renoir, Cezanne, Sisley. Paris: Arts et Metiers Graphiques. 
• Michel Melot (1996). The Impressionist Print. New Haven: Yale University Press. 
• Theodore Duret (1924). Renoir. Paris: Bernheim-Jeune. 

[edit] References

[edit] Related links

• Gabrielle Renard - Renoir family's nanny
• Jean Renoir - This legendary director was the second son of Renoir

[edit] External links

• Renoir at biography.com
• How Renoir Coped with Rheumatoid Arthritis article in British Medical Journal by Boonen A. et al.
• The Story Behind the Masterpiece... The Luncheon of the Boating Party
• Suburban Pastoral, The Guardian, 24 Feb 2007
• Auguste Renoir Gallery
• Pierre-Auguste Renoir at Find A Grave

v • d • e Impressionism Originators Frédéric Bazille · Eugène Boudin · Gustave Caillebotte · Mary Cassatt · Paul Cézanne · Edgar Degas · Armand Guillaumin · Édouard Manet · Claude Monet · Berthe Morisot · Camille Pissarro · Pierre-Auguste Renoir · Alfred Sisley Patrons Gustave Caillebotte · Henry O. Havemeyer · Ernest Hoschedé Dealers Paul Durand-Ruel · Georges Petit · Ambroise Vollard Other artists in USA Frederick Carl Frieseke · Childe Hassam · Willard Metcalf · Lilla Cabot Perry · Theodore Robinson · John Henry Twachtman · J. Alden Weir Elsewhere Lovis Corinth · Max Liebermann · Max Slevogt · Konstantin Korovin · Valentin Serov · Francisco Oller y Cestero · Laura Muntz Lyall · Władysław Podkowiński · Nazmi Ziya Güran · Chafik Charobim Impressionism in other art forms Music · Literature · French Impressionist Cinema See also Post-Impressionism