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拍品专文
This work will be included in the forthcoming catalogue critique of Pierre-Auguste Renoir being prepared by the Wildenstein Institute established from the archives of François Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein.
The present painting is a portrait of Renoir's second son Jean, who as a young child was a frequent model for his father. In this work, Jean is painted with rosy cheeks and eyes averted from the viewer, his nose slightly upturned and his face round with infancy--he exudes a sentiment of childhood shyness at its peak. His long, auburn hair is adorned with a red bow that nearly disappears into the bright locks of hair surrounding it.
It was known that Renoir had a long-standing admiration for children's hair--long tresses were quite common for young boys around this time, and Renoir purposefully painted his children before they had their first haircuts in an attempt to capture their fullest and purest states of innocence within his portraits. Jean Renoir later wrote: "It may be remembered how my father insisted on my hair being kept long as a protection against blows or falls, and in addition, there was the increasing pleasure he took in painting it. As a consequence, I was still, at the age of seven, going about with my curly red locks" (Renoir, My Father, New York, 1958, p. 367).
The present painting is a portrait of Renoir's second son Jean, who as a young child was a frequent model for his father. In this work, Jean is painted with rosy cheeks and eyes averted from the viewer, his nose slightly upturned and his face round with infancy--he exudes a sentiment of childhood shyness at its peak. His long, auburn hair is adorned with a red bow that nearly disappears into the bright locks of hair surrounding it.
It was known that Renoir had a long-standing admiration for children's hair--long tresses were quite common for young boys around this time, and Renoir purposefully painted his children before they had their first haircuts in an attempt to capture their fullest and purest states of innocence within his portraits. Jean Renoir later wrote: "It may be remembered how my father insisted on my hair being kept long as a protection against blows or falls, and in addition, there was the increasing pleasure he took in painting it. As a consequence, I was still, at the age of seven, going about with my curly red locks" (Renoir, My Father, New York, 1958, p. 367).