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Pierre-Auguste RenoirVue prise des Collettes, Cagnes by Pierre-Auguste Renoir - Landscape paintingcirca 1910-11
circa 1910-11
About the Item
Vue prise des Collettes, Cagnes by Pierre-Auguste Renoir (1841-1919)
Oil on canvas
28 x 45.7 cm (11 x 18 inches)
Signed lower left, Renoir
Executed circa 1910-1911
This work is accompanied by a letter of authenticity from the Wildenstein Institute confirming its inclusion in the forthcoming catalogue raisonné of Pierre-Auguste Renoir being prepared by the Wildenstein Institute established from the archives of François Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein.
Provenance: Mme Chavan, Lausanne
Sotheby’s London, 2nd December 1981
Sotheby’s London, 4th February 2004
Richard Green, London
Private collection, acquired from the above in August 2004
Stern Pissarro Gallery, London
Private collection, London, acquired from the above
Literature: A.Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Paris, 1918
G-P. Dauberville and M. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, 1903-1910, vol 4, no. 2930
Artist biography:Renoir began his artistic career as a porcelain painter but began copying paintings at the Louvre in 1860 and eventually entered the studio of Charles Gleyre, where he met Claude Monet, Frédéric Bazille, and Alfred Sisley. The four friends began painting in the forest of Fontainebleau, although Renoir always remained dedicated to figure painting and portraits influenced by Gustave Courbet.
In the summer of 1869, Renoir painted for two months alongside Monet at La Grenouillère outside Paris. After several of his paintings were rejected by the Salon in the early 1870s, he decided to join Monet in establishing the Impressionists, who sought to capture modern life including everyday people, streets, and surroundings.
Renoir's penchant for portraiture attracted the attention of a range of patrons with avant-garde sensibilities and sustained him financially. His doubts about the spontaneity and impermanence of the Impressionist aesthetic led him to refuse to participate in the fourth Impressionist exhibition in 1878. Instead, he decided to look back to the old masters, leaving for Italy in 1881 to continue his self-education in the 'grandeur and simplicity of the ancient painters.' He returned enamored of Raphael and Pompeii and his figures consequently became more crisply drawn and sculptural in character.
By the late 1880s and early 1890s, Renoir had shifted his investigation of the old masters from linear classicism to the colouristic traditions of Titian and Rubens as well as the unabashedly sensual beauty of eighteenth-century French art such as the nudes of Rubens and Fragonard. Renoir's most important series of the decade came from an invitation by the French government to execute a painting for the Musée du Luxembourg, a new museum devoted to the work of living artists. Renoir made five versions of Two Young Girls at the Piano for the Minister of Fine Arts to choose from; the version in the Metropolitan's Robert Lehman Collection is one of the finest. The subject of girls at a piano recalls eighteenth-century French genre scenes, especially those of Fragonard.
In the early twentieth century, despite old age and declining health, Renoir persisted in artistic experimentation. He took up sculpture and continued to paint portraits attesting to his continued admiration of Renaissance art. Renoir was also drawn to an arcadian ideal of Mediterranean classicism in his art. This artistic preoccupation is nowhere more apparent than in his twentieth-century bathers. The Rubenesque nudes he had been painting reached a level of unprecedented exaggeration in the twentieth century, culminating in the massive Bathers at the Musée d'Orsay.
- Creator:Pierre-Auguste Renoir (1841-1919, French)
- Creation Year:circa 1910-11
- Dimensions:Height: 11.03 in (28 cm)Width: 18 in (45.7 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU261212236772
Pierre-Auguste Renoir
An early 20th-century master, Pierre-Auguste Renoir created thousands of figurative prints and paintings and is credited as one of the founders of the Impressionist movement. His frequently reproduced works are appreciated for their luminous appearance, rich colors and soft, feathered brushstrokes.
Renoir was born in Limoges, France, in 1841. He began painting as a child while working in a porcelain factory, which led to a formal study of art in Paris under Charles Gleyre. In the early 1860s, he often visited the Louvre to study French master painters, and he became friends with Claude Monet and Alfred Sisley, both leading Impressionists.
Renoir first exhibited his paintings in 1864, but he did not rise to prominence until his first exhibition with the Impressionists in 1874. In 1877, Renoir stopped exhibiting with the Impressionists and embarked on a series of travels. In 1881, he went to Algeria and Spain, meeting the artists Eugène Delacroix and Diego Velázquez. He continued to Rome, Sicily, Algeria and Guernsey, where he created 15 paintings in one month in the summer of 1883.
In 1890, Renoir married Aline Victorine Charigot, a portrait model and muse for many of his works. They had three sons, and in 1907, Renoir moved his family to the village of Cagnes-sur-Mer, near the Mediterranean. By this time, he had developed arthritis in his hands, and he had a stroke in 1912, after which he used a wheelchair. Renoir continued to paint for the rest of his life, even strapping a brush to his paralyzed fingers.
Shortly before his death in 1919, Renoir visited the Louvre to see his paintings now hanging next to the artistic icons that he used to study and admire. He returned to his home village and died in December of that year.
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