It’s Day 353 and I was a little nervous about today’s artist. First of all, his style is the most challenging (to me at least) and his artwork is so wonderful. I kept describing his paintings as whispers…since they are so soft looking. I find this type of impressionistic painting so difficult to do since I tend to paint bolder lines than this. Please join me in honoring Pierre- Auguste Renoir today.
Pierre-Auguste Renoir (25 February 1841 – 3 December 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.”
Pierre-Auguste was the father of actor Pierre Renoir (1885–1952), filmmaker Jean Renoir (1894–1979) and ceramic artist Claude Renoir (1901–69). He was the grandfather of the filmmaker Claude Renoir (1913–1993), son of Pierre.
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 his being chosen to paint designs on fine china. Before he enrolled in art school, he also painted hangings for overseas missionaries and decorations on fans. 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. 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, 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 Renoir painted on the banks of the Seine River, some Communards thought he was a spy and were about to throw him into the river when a leader of the Commune, Raoul Rigault, recognized Renoir as the man who had protected him on an earlier occasion.
In 1874, a ten-year friendship with Jules Le Cœur and his family ended, and Renoir lost not only the valuable support gained by the association, but also 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.
Renoir experienced his initial acclaim when six of his paintings were hung in the first Impressionist exhibition in 1874. In the same year, two of his works were shown with Durand-Ruel in London.
In 1881, he traveled to Algeria, a country he associated with Eugène Delacroix, then to Madrid, 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 15 January 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, after contracting pneumonia which permanently damaged his respiratory system, Renoir convalesced for six weeks in Algeria.
In 1883, Renoir 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 that includes beaches, cliffs and bays. 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 Suzanne Valadon as a model, posing for him (The Bathers, 1885–87; Dance at Bougival, 1883) and many of his fellow painters while studying their techniques; eventually she became one of the leading painters of the day.
In 1887, the year when Queen Victoria celebrated her Golden Jubilee, and upon the request of the queen’s associate, Phillip Richbourg, Renoir
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 Le Déjeuner des canotiers (Luncheon of the Boating Party, 1881), and with whom he had already had a child, Pierre, in 1885. 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, Jean Renoir became a filmmaker of note, Pierre Renoir, became a stage and film actor.
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. Renoir painted during the last twenty years of his life even when he was wheelchair-bound and arthritis severely limited his movement. He developed progressive deformities in his hands and ankylosis of his right shoulder, requiring him to change his painting technique. It has often been reported that in the advanced stages of his arthritis, he painted by having a brush strapped to his paralyzed fingers, but this is erroneous; Renoir remained able to grasp a brush, although he required an assistant to place it in his hand. The wrapping of his hands with bandages, apparent in late photographs of the artist, served to prevent skin irritation.
In 1919, Renoir visited the Louvre to see his paintings hanging with those of the old masters. During this period, he created sculptures by cooperating with a young artist,Richard Guino, who worked the clay. Due to his limited joint mobility, Renoir also used a moving canvas, or picture roll, to facilitate painting large works.
Renoir’s portrait of Austrian actress Tilla Durieux (1914) contains playful flecks of vibrant color on her shawl that offset the classical pose of the actress and highlight Renoir’s skill just 5 years before his death.
Renoir died in the village of Cagnes-sur-Mer, Provence-Alpes-Côte d’Azur, on 3 December 1919.
Renoir’s paintings are notable for their vibrant light and saturated colour, 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 colorism 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. Renoir admired Edgar Degas’ sense of movement. Another painter Renoir greatly admired was the 18th-century master François Boucher.
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 a ‘student’ piece, Renoir’s heightened personal response to female sensuality is present. The model was Lise Tréhot, the artist’s mistress at that time, and inspiration for a number of paintings.
In the late 1860s, through the practice of painting light and water en plein air (outdoors), 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; an effect today known as diffuse reflection. Several pairs of paintings exist in which Renoir and Monet worked side-by-side, depicting the same scenes (La Grenouillère, 1869).
One of the best known Impressionist works is Renoir’s 1876 Dance at Le Moulin de la Galette (Bal du 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 color 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, as in The Bathers, 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. Concentrating on his drawing and emphasizing the outlines of figures, this is sometimes called his “Ingres period”.
After 1890 he changed direction again. To dissolve outlines, as in his earlier work, he returned to thinly brushed color. From this period onward he concentrated on monumental nudes and domestic scenes, fine examples of which are Girls at the Piano, 1892, and Grandes Baigneuses, 1887. The latter painting is the most typical and successful of Renoir’s late, abundantly fleshed nudes.
A prolific artist, he created 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. The single largest collection of his works—181 paintings in all—is at the Barnes Foundation, in Philadelphia.
Biography is from wikipedia.
“The pain passes, but the beauty remains.”
― Pierre-Auguste Renoir
I hope you enjoy my piece today. It was quite a challenge, but I think I pulled it off. 🙂 It’s a self-portrait of myself as a child. I will see you tomorrow on Day 354.
These are all just amazing. I am utterly flabbergasted you accomplished this level of detail in such a limited timeframe!
Thanks so much! It is definitely an insane project…psychologically and technically challenging. I kind of can’t believe it myself!