La Danse a la Campagne

View Similar Items

Anders Zorn - Gulli I /// Impressionist Anders Zorn Swedish Etching Antique Girl Face Portrait

Sidney Tushingham - Peggy /// Antique Victorian Etching Portrait Figurative British Children Child

Sidney Tushingham - Molly /// Antique Victorian Etching Portrait Figurative British Children Child

Roman Lapp - Lonely dreamers .1992. Paper, etching, watercolor, 22x14 cm

James Abbott McNeill Whistler - J. Becquet, Sculptor

Axel Wallert - Axel Wallert, Fashionable Lady With Feathered Hat, Etching

Henri Matisse - Frontispiece, from: Fifty Drawings - French Impressionism Portrait

Albert Besnard - Dans les Cendres (In the embers)

Georges Rouault - Le Jongleur (The Minstrel)

Hermann Struck - German Artist Impressionist Etching Judaica Jewish Sephardic Jewish Bezalel Era

Emile Alfred Dezaunay - Jeune Fille de Rosporden

Camille Pissarro - Grand’mère (effet de lumière) (La Mère de l’artiste) by Camille Pissarro

Want more images or videos?

Request additional images or videos from the seller

1 of 9

Pierre-Auguste Renoir
La Danse a la Campagne
1890

About the Item

Artist: Pierre-Auguste Renoir (French 1841-1919) Title: La Danse a la Campagne Medium: Etching Signed: Signature stamp by Renoir appears in lower right Dimensions: Framed 13 x 16", Unframed 8.7 x 5.4" Price: $25,000 Provenance: Private Impressionist Collection Original soft-ground etching, on wove paper, Renoir brings his subjects to life showing a fluid movement and fine detail and as usual chronicling modern life in France in the last decades of the 19th century. This etching depicts a couple sharing an intimate dance in the countryside. The figures in the scene are Edmond Renoir ( Renoir's brother), and his companion, Susan Valadon. This work is displayed in its original French frame which has mirrors that surround the borders for an elegant appeal. The last photograph shows the mansion where the Renoir etching was previously owned in a Bar Harbor Italian Villa. Reference Catalogue Raisonne: "The Graphic Work of Renoir," 1975, No 2 by Dr. Joseph G. Stella's. The original plates were destroyed soon after printing process was completed. Artist Bio Pierre Auguste Renoir (1841-1919) – French artist born in Limoges, whose style bridged the gap between the Renaissance painters who came before him and the Fauvists and Cubists who came after. Renoir started out as an apprentice to a porcelain painter learning to copy designs to decorate plates and other dishware. He began to make a living doing other types of decorative painting and studied drawing in his free time. He struggled for years as a painter helping to launch the Impressionism movement in the 1870’s and eventually becoming one of the most famous artists of the early twentieth century. He was the son of a tailor and a seamstress. His parents moved to Paris between 1844 and 1846 living near the Louvre. He attended the nearby Ecole des Beaux-Arts. He became the student of Charles Gleyre and at his studio befriended other young artists, Federic Bazille, Claude Monet and Alfred Sisley. Through Monet he met emerging talents Camille Pissarro and Paul Cezanne. He showed La Esmeralda at the Paris Salon in 1864 and a portrait of William Sisley, the wealthy father of artist Alfred Sisley, a year later. With no fixed address in his early career, he depended on the kindness of friends, mentors and patrons, supported in part by artist Jules Le Coeur and his family. A seamstress, Lise Trehot, became his model and reportedly gave birth to his daughter, although Renoir never publicly acknowledged his daughter during his lifetime. He was drafted into the army in 1870 and served in France’s war against Germany. He fell ill with dysentery soon after and never saw any action, unlike his friend Bazille who was killed that November. He returned to Paris and joined Pissarro, Monet, Cezanne and Edgar Degas in the first Impressionist exhibition in 1874. The name of the movement was derived from a critical review of that show in which the works were called “impressions” rather than finished paintings done using traditional methods. Renoir embraced a brighter palette, giving them a warmer, sunnier feel, and adopted different types of brushstrokes. Wealthy publisher Georges Charpentier and his wife Marguerite took a great interest in him, inviting him to social gatherings. His painting, Madame Charpentier and her Children, was featured in the official Salon of the following year and brough him much critical admiration. He began to make a living from portraitures.

Creator:
Pierre-Auguste Renoir (1841-1919, French)
Creation Year:
1890
Dimensions:
Height: 16 in (40.64 cm)Width: 13 in (33.02 cm)Depth: 1 in (2.54 cm)
Medium:
Etching
Movement & Style:
Impressionist
Period:
1890-1899
Condition:
Gallery Location:
Saint Augustine, FL
Reference Number:
1stDibs: LU136326629452

Shop All Pierre-Auguste Renoir

Pierre-Auguste Renoir

Pierre-Auguste 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 Robert Lehman Collection at the Metropolitan Museum of Art is one of the finest. The subject of Two Young Girls at the 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.

Find original Pierre-Auguste Renoir prints, paintings and other art on 1stDibs.

(Biography provided by Stern Pissarro Gallery)