Pierre Auguste Renoir Art

One of the founders of Impressionism and certainly one of its greatest masters, Pierre-Auguste Renoir (1841 - 1919) was not a prolific printmaker, but he explored several different m...

Pierre-Auguste Renoir (1841–1919) French, Drypoint etching on archival paper. Titled "Femme Nue Couchee". Unknown edition. A delicate Impressionist etching that captures a reclining ...

Le chapeau épinglé (La fille de Berthe Morisot et sa cousine) 3e planche. Etching realized by Renoir in 1894. Image dimension 11.5x8 cm. / sheet dimension 33.2x15.1 cm. The final s...

Pierre-Auguste Renoir 1841-1919 (France) "Buste de femme au corsage vert" (Gabrielle). 1908 Oil on canvas Size 49.30 x 35.30 cm (19 x 14 in.) Framed 33.75 x 30 x 2.75" Signed upp...

PIERRE-AUGUSTE RENOIR (1841-1919) Portrait de femme - Berthe Poret bears signature (lower left) oil on canvas 17 15/16 x 14 3/4 in (45.5 x 37.4 cm) Painted between 1862-1863 Footnotes This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Provenance Berthe Poret Collection, France (acquired from the artist in 1863). Thence by descent to the previous owner. Private collection (acquired from the above in 1947). O'Hana Gallery, London (acquired circa 1955). Michael Mathias Collection, US (acquired through Emmanuel Javogue Fine Arts, Miami in 1998). Simic Galleries, Carmel, by 2000. Private collection, Texas (acquired circa 2007). Private collection, Atlanta. Acquired from the above by the previous owner in February 2019. Exhibited London, O'Hana Gallery, Cezanne to Picasso "Oeuvres de jeunesse," April 12 - May 16, 1956, no. 13 (titled 'Portrait of Mlle. Berthe Poret'). Paris, Galerie Drouot - Provence, Exposition, June 1 - July 31, 1959. Edmonton, The Provincial Museum of Alberta, Edouard Cortes (1882-1969), Paris and French Countryside Revealed, June 9 - September 3, 2001. Literature G-P. & M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. I, 1858-1881, Paris, 2007, no. 440 (illustrated p. 453; titled 'Portrait de Mademoiselle Berthe Poret' and dated circa 1863). One of the earliest known paintings by Renoir...

PIERRE-AUGUSTE RENOIR (French, 1841 - 1919) BAIGNEUSE DEBOUT A MI JAMBES (D., S. 23) Etching, 1910, a later impression on laid paper, the only state. Full margins with deckle edge...

Edition of 100 prints, not signed. One of the most celebrated graphic works of Renoir, showing his son, the future Director Jean Renoir. Belogs to the suite “L’Album d’estampes orig...

PIERRE-AUGUSTE RENOIR (1841-1919) "Enfants jouant à la balle" lithograph, on laid paper with the Dambricourt Frères watermark, circa 1900, a previously unrecorded proof state before ...

Pierre Auguste Renoir Mère et Enfant, 1896 Drypoint in brown and green From a very rare edition of 100 impressions on cream-toned Van Gelder laid paper Reference: Delteil #10 Printed...

Le Chapeau Epingle or La fille de Berthe Morisot et sa Cousine (1e planche) Etching with drypoint, 1904 Signed in the plate (see photo) This is the first etched version of "Pinning the Hat" Depicts Julie Manet and her cousin Jeanne. Exceptional impression printed with burr and selective inking with plate tone. Very rare. Published in 1910 in the first edition of Druet, "Manet annd the French Impressionists" A lifetime impression, printed prior to 1912. The etching comes with the original Herman Wunderlich & Co. (Kennedy Galleries label), which dates this impression to 1912 when Wunderlich changes names to Kennedy Galleries. Very rare image in an early lifetime impression. Printed with plate tone With pencil inscription stating first printing in French (see photo) Condition: very good No issue as seen from the front Soft horizontal creases visible from reverse Provenance: Kennedy Galleries, NY Reference: Stella 4, prior to Druet edition Delteil 4, published state Pierre-Auguste Renoir was a famous French painter whose paintings are some of the most popular, well-recognized, and frequently reproduced images in the history of art. His work presents a vision of a forgotten world, full of sparkling color and light. He once said: “Why shouldn’t art be pretty? There are enough unpleasant things in the world.” Born at Limoges on February 25, 1841, Renoir died at Cagnes-sur-Mer on December 17, 1919. When he was 13, Renoir entered a Paris porcelain painter’s workshop as an apprentice and developed a fine brush technique and facility with color. At 21, he attended courses at the École des Beaux-Arts and subsequently at Glyre’s. He made friends with Cezanne, Pissarro, Sisley, Monet, Bazille, and Diaz. In 1873, the artists Durand Ruel, Caillebotte, and Duret took an interest in his work. Renoir was involved in “The Society of Painters, Engravers and Sculptors,” which was founded in 1874, and witnessed the birth of Impressionism. From there, Renoir was immersed and able to spend time with his fellow artists of the day. He did not take up original printmaking until he was 50 years old, first with two small soft-ground etchings after his painting, “The Rustic Ball,” followed by an etching of Venus for the frontispiece of Mallarme’s Pages. Most of his engravings were done after his own pictures. In 1892, he did his first lithograph – a portrait of his son Pierre. In 1894, he met Ambroise Vollard, who played an important part in the production of Renoir’s and Cezanne’s lithographs...

Pierre-Auguste Renoir’s Apres Le Bain is a stunning 22 x 26-inch pencil and Sanguine chalk painting depicting a nude woman after her bath. This large, exquisitely detailed work showc...

Pierre-Auguste Renoir (French 1841-1919) Le Chapeau Épinglé, 2e planche (Delteil 30) Lithograph in colours on laid paper. Signed in stone. From the edition of 200 59.9 x 49.6cm (shee...

Pierre-Auguste Renoir (French, 1841-1919) "La danse à la campagne" Conceived 1883 Soft ground Etching on paper Image: 8-5/8 x 5-1/4 inches (21.9 x 13.3 cm) (plate) Sheet size : 1...

"PIERRE-AUGUSTE RENOIR (1841-1919) Le Chapeau Épinglé, 1ère Planche (Delteil; Stella 6) Drypoint, 1894-95, on laid paper, with watermark MBM, an extr...

PIERRE-AUGUSTE RENOIR (1841-1919) "Enfants jouant à la balle" Lithograph in colors, on Arches Ingres laid paper watermark MBM, 1900, from the edition of 200, published by Ambroise V...

Pierre Auguste Renoir (1841-1919) Maternity, 1910 Original lithograph Signed in the plate Edition of 100 copies On China paper size c. 60 x 49 cm (c. 23.6 x 19.3 in) In a beautiful ...

"Renoir: The Man & his Images", Large exhibit poster, originally made for Musee d'Art Histoire, Paris. Colorful and poignant portrait of a woman. Artist signature is plate signed in ...

For Pierre-Auguste Renoir, Impressionism's pre-eminent figure painter, depicting the nude was an exercise in bringing the canvas to life. He once said, “I look at a nude, I see myriads of minuscule shades. I have to find those which will make the flesh on my canvas come to life and resonate.” This compelling portrait by Renoir entitled Après le bain presents the nude figure of a woman in a serene, private moment, absorbed in the task of drying herself after a bath. The artist’s mastery of light and shading is incredible, achieving a sense of vitality in this otherwise ordinary scene. Renoir is celebrated for his figural work, especially his Rubenesque female nudes, however, it was not until the artist was in his forties that he depicted the nude with any frequency. In 1881, Renoir traveled to Italy, where he studied the works of the Renaissance masters and the ancient art of Pompeii and Rome. Upon his return to France, the nude became his favored subject, and he used the motif to combine the spontaneity of Impressionism with the solid modeling of classical painting. Renoir’s medium here, sanguine, a reddish-brown chalk, was used extensively in the Renaissance by Leonardo (who employed it in his sketches for the Last Supper), Michelangelo and Raphael. Its warm hue lends itself well to depicting flesh, and the chalk drawing allows for a greater focus on line, form and texture in a departure from the aspects of color and light that so often preoccupied the Impressionists. Après le bain conveys the impression of arrested motion with perfect naturalness, deftly capturing the moment before the elegant lines of the sitter's form change position. The sitter is almost certainly Gabrielle Renard, the nanny to Renoir’s children and a frequent model for the artist. Gabrielle was the cousin of Renoir’s wife, Aline, and came to Montmartre to work for the family at the age of 16. She developed a strong bond with the family and became a favorite subject for Renoir, appearing in several of his most important works, including his 1911 Gabrielle with a Rose (Musée d'Orsay). When Renoir began to suffer from severe rheumatoid arthritis that would eventually leave him unable to walk and scarcely able to grasp a paintbrush, it was Gabrielle that would assist the artist by positioning the paintbrush between his crippled fingers. Born in Limoges, France in 1841, Renoir began his career as an apprentice to a painter of porcelain wares. He later moved to Paris at the age of 21, enrolling at the prestigious École des Beaux-Arts. It was here, while studying under Charles Gleyre, that Renoir attained a tremendous appreciation for the academic style of painting, a quality that would last throughout his career. This was also when he met Claude Monet and several other classmates, with whom he would later form the Impressionists. Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir recognized how a subject was constantly changing due to the dynamic effects of light on color. Relying heavily upon his academic training that focused on composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with acute attention to his subject, have placed him among the finest painters in history. This work is accompanied by a certificate of authenticity and will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir from the Wildenstein Plattner Institute. Circa 1898 Canvas: 43 1/2" high x 35 1/2" wide Frame: 57 3/4" high x 49 1/4" wide Provenance: Galerie Durand-Ruel, Paris (acquired from the artist on January 25, 1899) J. Pereire Collection, France (1966) Sam Salz, New York (before 1981) Claus Virch, Paris French Compagny, Inc., New York Larry Silverstein, New York (circa January 1987) Le Clos de Sierne Gallery, Geneva Galerie Heyram, Paris (October 1987) Francis Gross M.S. Rau, New Orleans Literature: B. Schneider, Renoir, Berlin, 1957, p. 95 (illustrated in color, p. 83) M. Gauthier, Renoir, Paris, 1958, p. 83 (illustrated in color; erroneously dated '1916' and titled 'Woman in her toilet') F. Fosca, Renoir, L'homme et son obra, Paris, 1961, p. 280 (illustrated, p. 95; erroneously dated 'about 1890' and titled 'After the Bath...