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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.
Guy-Patrice and Michel Dauberville have confirmed that this painting is included in their Bernheim-Jeune archives as an authentic work.
Painted in 1913, Orangers et fond de mer depicts the land which inspired Pierre-Auguste Renoir's last masterpieces. Capturing a glimpse of the bay in the background, the painting celebrates the Mediterranean coastline. Although Renoir painted most of his landscapes in front of his motif, he carefully framed this picture, using the tree on the right as a repoussoir, according to the French tradition of classical landscape. The handling of the paint, however, voices Renoir's innovative Impressionist technique, enriched in the late years by flaming red and orange tones.
At the time he painted Orangers et fond de mer, Renoir was living at Collettes, in Southern France, in an ample family house which he built in the middle of an olive garden. Just like Claude Monet at Giverny, Renoir transformed his wild surroundings into an outdoor studio, where he painted a number of nudes, genre scenes and landscapes. His wife Aline planted an orangery, possibly advised by Renoir who had loved the orange trees at Maison de la Poste, where the family had previously stayed. Orangers et fond de mer confirms Renoir's passion for this type of tree, as well as his joyful communion with the Mediterranean landscape of his home.
Renoir entered the Twentieth Century as a celebrated artist, a recognised pioneer at the forefront of the Impressionist movement. His work was hailed in France as well as abroad: in 1913, the year in which Orangers et fond de mer was painted, Renoir was invited to exhibit at the Armory Show in New York. Visitors at Collettes were stunned to discover that, notwithstanding his age and infirmities, Renoir was producing great works. Indeed, his twentieth-century paintings have been the subject of dedicated exhibitions and have fascinated many artists. Henri Matisse, who visited the artist in 1918, wrote back to his wife: 'I have just come back from Renoir's house where I have seen some marvellous paintings' (H. Matisse, quoted in Renoir au XX siècle, exh. cat., Paris, 2009, p. 381).
Guy-Patrice and Michel Dauberville have confirmed that this painting is included in their Bernheim-Jeune archives as an authentic work.
Painted in 1913, Orangers et fond de mer depicts the land which inspired Pierre-Auguste Renoir's last masterpieces. Capturing a glimpse of the bay in the background, the painting celebrates the Mediterranean coastline. Although Renoir painted most of his landscapes in front of his motif, he carefully framed this picture, using the tree on the right as a repoussoir, according to the French tradition of classical landscape. The handling of the paint, however, voices Renoir's innovative Impressionist technique, enriched in the late years by flaming red and orange tones.
At the time he painted Orangers et fond de mer, Renoir was living at Collettes, in Southern France, in an ample family house which he built in the middle of an olive garden. Just like Claude Monet at Giverny, Renoir transformed his wild surroundings into an outdoor studio, where he painted a number of nudes, genre scenes and landscapes. His wife Aline planted an orangery, possibly advised by Renoir who had loved the orange trees at Maison de la Poste, where the family had previously stayed. Orangers et fond de mer confirms Renoir's passion for this type of tree, as well as his joyful communion with the Mediterranean landscape of his home.
Renoir entered the Twentieth Century as a celebrated artist, a recognised pioneer at the forefront of the Impressionist movement. His work was hailed in France as well as abroad: in 1913, the year in which Orangers et fond de mer was painted, Renoir was invited to exhibit at the Armory Show in New York. Visitors at Collettes were stunned to discover that, notwithstanding his age and infirmities, Renoir was producing great works. Indeed, his twentieth-century paintings have been the subject of dedicated exhibitions and have fascinated many artists. Henri Matisse, who visited the artist in 1918, wrote back to his wife: 'I have just come back from Renoir's house where I have seen some marvellous paintings' (H. Matisse, quoted in Renoir au XX siècle, exh. cat., Paris, 2009, p. 381).