Previous Paintings By Renoir Of The Time example essay topic

Pierre-Auguste Renoir was born in 1841 to Marguerite Merle t and L'eon ard Renoir. In 1844 his family moved to Paris and by 1854, at the young age of thirteen, began painting flowers on porcelain cups and saucers. Through his parents, he began as a painter for the porcelain industry; his parents felt this was the perfect start for the beginnings of an artist. He came from the town of Limoges, where porcelain became almost a symbol of status and wealth.

By 1860 he had left the porcelain factory in favor of becoming a full time painter; he was granted permission to copy paintings in the Lourve where he began to admire the eighteenth century masters. In 1862 he entered the studio of Marc-Gabriel-Charles Gley re, a Swiss teacher who offered instruction to many upcoming artists, where he met such influences as Claude Monet and Alfred Sisley. Along with this, he began attending the Ecole des Beaux-Arts. Through this he finally developed his unique brush stroke and style that was to be his own. From there, he became part of the Impressionist Era, which gave birth to a splendid era of painting which changed art forever. This new movement began in France which was what became the cultural center of Europe, and later the world.

France was an inviting place for an artist in the nineteenth century. A nation which clearly "offered the necessary conditions for an art form to flourish that was domestic scale, devoted to sensual pleasure and addressed to the private collector". This all came about during a time when France was establishing itself as one of the cultural centers of the world. This was a peaceful era, that saw a discernible increase in industrial productivity leading to greater middle-class prosperity and freedom. Through all this, increased activity in the art world began to develop. Through a boom in collecting and dealing art, artwork became a commodity that embodied the most positive and realizable value.

These factors, together with many more, helped pave the way for the "impressionist" movement that we so fondly admire today. The idiom "impressionism" was originally suggested by a critic reviewing Monet's Impression, Sunrise (1872), who blasted the painting "as a prime example of the slapdash appearance of the canvases on view at the first Impressionist exhibition". This radical movement, born in Paris and parts of northern France, began what was the rejection of the intellectual ambition towards idealism and perfection; it replaced it instead with a dedication to an art of the everyday and to improvisatory methods perfected to capture momentary and fleeting observations. Impressionist art brought with it a characteristic and long-lasting originality and approachability that, until now, was never found in the art of earlier periods. The interests of these painters seem to be relevant to our own and function humbly by exciting our visual contentment. The term "impressionism" itself entails a great assemblage of extraordinary painters who have changed the artistic world, as we know it.

The term impressionism has often been mistaken as a definition for every impressionist painter. Generally, terms of artistic movements tend to attempt to. ".. encompass the complexities and shifts of the diverse artists who exhibited under its banner". Many of the artists within the group opposed the term and instead preferred the name "Independents", while few even considered themselves members of other movements (Edgar Degas often considered himself a "Realist"). Despite this conflict ion, every impressionist painter shared a similar dedication to painting contemporary subjects in an informal style. In the face of this commitment impressionists still were divided into two principle camps.

Led by Claude Monet and including Camille Pissarro, Alfred Sisley and sometimes Pierre-Auguste Renoir, the "Pure" Impressionists painted out-of-doors, recording their impulsive reactions to light and atmosphere. The contesting division of Impressionists, led by Edgar Degas and included Gustave Caillebotte, Jean-Louis Fora in and Jean Francois Raff a " ell i, were more fascinated with urban subjects, draftsmanship and the human figure. By the Third Impressionist Art Exhibition, the group had suffered a tremendous rift in style. At this point, each artist had formed such diverse techniques, that by the 1880's even Monet and Renoir had abandoned the purely outdoor Impressionist style in favor of a more philosophical approach to painting; this also applies in different ways to the work of C'e zanne, Gauguin and Pissarro. Plate 1 - The Luncheon of the Boating Party Approximately around the years 1880-1881, Renoir painted The Luncheon of the Boating Party, after a boating party that he had attended earlier that year. This painting is oil on canvas and is located in the Phillips Memorial Gallery, Washington DC.

It was originally purchased from Renoir in 1923 by Durand-Ruel for his private collection, it was later sold by his children to Duncan Phillips. In this painting, Renoir is celebrating youth. He had friends pose for him, as he did with many of his most famous paintings. This painting depicts an informal lunch amongst friends at the Fournaise Restaurant at Chatou (near Argenteuil). In this painting, his future wife, Aline Chariot at 21, can be seen in the foreground towards the left fondling a dog. Durand-Ruel bought the work and continued to exhibit it, first at his Renoir one-man show and then in Boston (1883), New York (1886), London (1905) and later in many different locations, until Washington collector Duncan Phillips finally persuaded him to part with it for an estimated $150,000 in 1923.

American newspapers carried the headlines of this for weeks after the historic purchase. At first glance, Renoir's The Luncheon of the Boating Party appears to be impulsive and fresh (as the Impressionist style generally appears). This painting depicts the momentary effects of light and color, as they would have appeared at this moment in time. Through the use of his own technique, he is able to bring together a rather large group of friends into a singular, authentic illustration of a captivated instant in time through its magnificent composition. Renoir's brushwork varies from vibrantly colored, profusely applied paint in the still life of the table, to the feathered brushstrokes of the countryside in the backdrop. The figures have comprehensive outlines and delicate nuances of light and dark to unmistakably characterize the human body and the explicit fine points of human facial features.

As compared to previous paintings by Renoir of the time, the color of this work is varied and distinguishes individual features, rather then engrossing all of the figures into a dominant impression of color. The composition, although extremely complex from close examination, has a far clearer overall structure then his previous paintings. This work is framed by foreground figures at both sides and recedes in a transverse through the center. He implies the effects of outdoor sunlight, diffused by the awning under which the figures enjoy their lunch. The use of colored light is now restrained inside individual figures. Through the white tablecloth and vests of the two foreground gentlemen, gradations of color become evident almost as spots of light that bring together the entire work of art, set against the darker tones of the brighter colors in the region of them.

In the Seventh Impressionist Exhibition, art critic Armand Silvestre judged this painting as "absolutely superb". He continued to write, 'It is one of the most beautiful pieces that this insurrectionist art by Independent artists has produced. ' Duncan Phillips, after purchasing this painting for his collection, proudly wrote back to Washington from Paris that he had acquired for the collection 'one of the greatest paintings in the world. ' He later claimed it to be a cornerstone for any. ".. museum of modern art and its sources". Plate 2 - Portrait of Madame Charpentier and Her Children In the year 1878, Renoir painted the Portrait of Madame Charpentier and Her Children, from which he earned great success and praise at the Salon. This painting is oil on canvas and is located in The Metropolitan Museum of Art, New York within the Catherine Lorillard Wolfe Collection.

This work of art is of Madame Charpentier, well known for her literary and political salon, and her children. It is worth noting that Madame Charpentier has a son and daughter. Her son, Paul, is sitting next to her while her daughter Georgette is sitting upon the family dog. Each child is wearing a dress and has long brownish hair; this may therein cause confusion. She was the wife of Georges Charpentier, the publisher of Flaubert, Zola and the Goncourt Brothers. The Charpentier family took care of Renoir and helped him financially.

Renoir painted several portraits for the Charpentier family during his friendship with them. Due the prestige of this married couple, Renoir's portrait was well placed within the Salon of 1879 and was later displayed in the Third Impressionist Exhibition. It was originally purchased for 1,500 francs by Theodore Duret and later sold for 84,000 francs less then thirty years later. Before his death, Renoir was able to see this highly successful portrait hanging in the Louvre. The technique of this painting shows softness in color and form. Renoir brings the viewer to focus on the figures within the painting through their facial expressions and intimate detail.

One may not focus therein on the story behind the painting, but rather the people of the painting, their appearances, attitudes and mood. This painting depicts Madame Charpentier and her children during a typical day at home, comfortable in what could be a living room of sorts in a general pose, rather then any of the traditional poses artist were using at the time. The children of the painting are contently peering at each other, while the child to the left most part of the work is sitting upon the family dog. Throughout all of this, the mother looks on in their direction, perhaps with a bit of joy in observing her children. Within this painting, one can observe Renoir's use of colors that are truly unique to his own work. The main focuses of the painting are created by contrasts between dark and light tones.

These colors bring out the textures of draperies, satins and silks of the Charpentier home. The children almost appear as dolls, most probably due to his work painting porcelain in his childhood. Although more traditionally composed then his previous paintings, Renoir does not abandon his impressionist roots for this painting, simply to fit the standards of the ever so critical Salon. He manages to take a more traditional stance on his impressionist technique creating a work of art that is pleasing to the conventional taste of the time without sacrificing style. The critics, despite the grandiose praise from the general public, still were not completely enthused with Renoir's style. Many held back from critiquing this work from fear of insulting Madame Charpentier herself.

Arthur Ba igni " eyes wrote, "We must not pick quarrels with M. Renoir; he has returned to the bosom of the Church and we should bid him welcome. Let us forget about form and simply talk about coloration". The general opinion was that Renoir was a "gifted colorist but that his draughtsmanship was open to criticism". According to Bert all, the portrait was "avery incomplete sketch done in accurate tones... a slack, transparent sketch, which seems to have been done with different coloured balls of cotton wool... The draughtsmanship does not bear talking about! There is complete absence of perspective".

Despite this negative analysis, J.K. Huysmans was a bit more enthusiastic saying, .".. The flesh tones in this portrait are exquisite and the grouping of the figures is ingenious. It is painted somewhat thinly and the props the artist has introduced are rather garish, but it is skillfully executed and above all is darling! In a word, this is the work of an artist who has talent and who is an independent, even if he does exhibit at the official Salon". Plate 3 - The Bathers (The Nymphs) Renoir intended The Bathers to be his last pictorial expression. Painted between the years of 1918 and 1919, it is done with oil on canvas and is located in the Mus " ee d'Orsay, Paris within the Galerie du Jeu de Pau me (a gift from the artist's sons in 1923).

This work is of two reclining nude women outside, in a relaxed state observing the landscape around them and perhaps in simple thought. At this point in Renoir's life he is suffering from a combination of arthritis and rheumatism that had first began to affect him in the 1890's. Despite his illness, Renoir continued painting with the aid of specialized equipment, trapped in a wheelchair with the paint brushes tied to his hands wrists. Renoir used models to pose for him to complete this work of art. One of the models was Andr " ee (D'ed " ee) Hassling, whom Renoir's own son Jean would latter marry after his unfortunate death in 1919. According to Albert Andr'e, the beauty of this "superb redhead" was in the enticement he needed to carry out his very last paintings; she can be seen as the lower figure within this painting.

This painting is a final testament to one of the most important movements of his career, the study of the nude figure. The technique within this work depicts a serene view of bathers enjoying a beautiful day. The landscape seems to blend in with the tones of the main two bathers in view, as well as the bathers seen within the far right background. This dissolve of the background and figures can be best seen with the cushion of the upper body and the foliage around it. The plane of the painting seems to contain the figures, grass and trees massed upon a singular itinerant facade. He told Ren'e Gimpel in 1918, "My landscape is only an accessory; at the moment I'm trying to fuse it with my figures".

The main figures are painted more opaquely in soft curve like bands of paint, which follow the entire paintings delicate variations of color and tone. The use of color is quite exquisite within this painting. Subtle pinks and reds can be seen through the grass and trees as well as partly within the figures. The discarded clothing toward the bottom left contains reds and oranges.

Blues are prominent through the distance and in the water. Throughout all of this use of color Renoir maintains a general use of white and off-white highlights. The National French Museums were reluctant, at first, to accept the gift of this painting from Renoir's sons, although his supporters admired the painting. Critic of the time George Dut huit concluded, "Short of imagination and deprived of any dramatic sense, without real fire or pungency, Renoir's marvelous facility did not reveal to him the secret of movement; in his largest compositions one finds something slack and overblown which distances them once and for all from monumental architecture". Plate 4 - The Umbrellas One of the most widely reproduced paintings of Renoir's since its introduction into the English National Collection, The Umbrellas, gained slow popularity among artists and critics alike. Generally it is believed to be part of Renoir's long sequence of ambitious vertical paintings of modern-life scenes (most of them the same general height, in order to later piece together).

This series began with Lise with a parasol (1867); The Umbrellas is most relevant in this progression of paintings to his Leaving the Conservatoire (1877), which also depicted groups of fashionably dressed men and women in the street within the same type of composure. Renoir is believed to have produced this painting at two separate times. The child with a hoop and the woman beyond her, together with parts of the girl at the far right and possible the woman in the center standing in profile, appear to have been painted at a separate time from the umbrellas, background and the couple at the left. "Three types of evidence support this conclusion: the picture's handling; the female fashions depicted; and technical examination and X-Rays".

It is believed that Renoir painted this work of art on oil and canvas, first in 1881 and finished it later in 1885. The painting was purchased from Renoir by Durand-Ruel in 1892 and later sold to Sir Hugh Lane, in whose bequest it came to the Tate Gallery in 1917. Today this painting is located in the Trustees of The National Gallery, London. This painting demonstrates classic Renoir style throughout.

The figures to the right were painted in a soft, almost fluffy stroke; they are not clearly defined nor outlined, but still are composed out of rich and wide-ranging color. The figures to the left, in comparison, are painted more conservatively; there outward appearances are more harshly outlined and certain features are more precisely drawn. The color is dreary and almost depressing. Within this painting, Renoir's transition of style can be seen. The cross between "solidity and feathery luminance" can be seen as he changed his focus as he worked. Due to the disparages of this painting, most notably the incongruities of the different halves of the painting, it was not exhibited with much success and was sold off rather quickly, therefore criticism is not readily available upon it.

Direct quotes were not easily found, but according to the Arts Council of Great Britain's reference collection, many critics and potential buyers looked down upon this painting, due to its abnormalities and combined styles, which Renoir did purposely, as he had to change his interests, did not appeal to the critics of the time. Plate 5 - La Grenouill " ere Painted in 1869 on oil on canvas, La Grenouill " ere (The Frog Pong) depicts a bathing-place and restaurant on the Seine at C roissy, near Chatou. It was close to Paris and extremely popular; in this painting Renoir captures passers by and bathers as well as the energy of this leisure spot. Despite this popularity, the area is relatively poor because of the railway line from Paris to Saint-Germain. Renoir most likely worked alongside many other artists (most notable Claude Monet), possible much of the time from the same or similar viewpoints on this work. "As so often in the history of art, the close proximity of a rival encouraged them to push their stylistic experiments further...

Renoir was more tentative, experimenting with what for him was a new genre". This painting is currently located in Oskar Reinhardt Collection, Winterthur, Switzerland. Color is key within this painting, it allows the eye to pass through subtle gradations from the background to the figures to the objects. The foliage upon the riverbank, for example, is not distinguished much at all. Unlike Claude Monet's paintings done at approximately the same time, Renoir uses greens and yellows to accentuate the contrast between the figures and the landscape. Even between the white dresses of the women and the black suits of the men, this color accentuation is shown.

He gives the figures almost a type of individuality, despite their painterly appearance and composition, almost as if they are placed into groups. The boats in the foreground, as well as many of the objects within the painting, are placed in such a way as to allow the view to focus upon the people within the painting. "Renoir's brushwork is more delicate and fussy, reminiscent of the elegant foliage of a pastoral idyll by Jean-Antoine Watteau (1684-1721) or Francois Boucher (1703 - 70)". In this painting, as with many of his paintings, he truly demonstrates his taste in "en plein air panting". Baudelaire reviewed this painting in the Salon of 1846 as "capturing the spirit of 'la vie moderne' by painting 'la vie parisienne', 'rich in poetic and marvelous subjects' by recording the splendid effects of sunlight on water and the movement of coloured reflections observed en plein air". Renoir passed away at the age of 79 in C agnes in the South of France on December 3, 1919, shortly after being able to see his own works hanging with those of the old masters in the Lourve.

Over his almost 60-year long career, he created thousands of paintings. The last two decades of his life were noted with suffering from arthritis, rheumatism and eventually even being confined to a wheelchair. Due to this he is unable to manipulate simple paintbrushes with his hands normally, they are instead tied to his hands wrists to allow him to continue with his work. Towards this time, he became influenced by earlier works and began to part from his impressionist roots in favor for the more classic, conservative styles of previous artists. At this point, he almost created his own new style, a combination of several original styles.

As time progressed, a small following of Renoir established itself slowly collecting his works. Those such as customs official Victor Chocquet, Durand-Ruel, the family of George Charpentier amongst many others, began collecting his paintings. In conclusion the impressionist painter, Pierre-Auguste Renoir, perhaps can be noted as one of the finest, most inspirational painters of the 19th and early 20th centuries. Renoir's work truly has established him as one of the most profound painters of the Impressionist era. Through each of his phases of artistic interest and style, he continually was able to captivate audiences, intrigue critics and to simply depict life. Subjects of his paintings varied immensely including such themes as beautiful scenes, children, exquisite women, flowers and portraits of significant individuals of the time.

He communicated all of his subject matter with an intimate joy and bliss that perhaps, no other artist could ever quite match. Renoir himself said, "Why shouldn't art be pretty? There are enough unpleasant things in the world... ".

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