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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.
Portraiture occupies a fundamental place in the work of Pierre-Auguste Renoir. The artist owed his first public success to an ambitious family portrait, Portrait de Madame Charpentier et de ses enfants (New York, The Metropolitan Museum), exhibited at the Paris Salon in 1879 and whose main model, Madame Charpentier - the wife of the publisher of Flaubert, Zola, the Goncourt brother and Huysmans - was behind the rise in Renoir's portrait commissions at the start of the 1880s.
Although from the early 1890s, Renoir's dealer, Paul Durand-Ruel - observing a drop in demand for portraits from collectors - tried to convince him to reduce his production of this type of work, the artist remained very attached to portraiture. Between 1890 and 1900, the subject of most of his work was "figures in elegant modern dress - young ladies often wearing fantastic hats, some head-and-shoulders, some half body, others full length, alone or with a companion." (J. House, Renoir, exh. cat., Paris, 1985, p. 255).
However, at this time, Renoir did abandon the rigid structure employed the 1880s in favour of a freer treatment with more open space. He studied in greater depth how to combine sharpness of form with free play of touches of colour. His main sources of inspiration were 18th-century French artists, particularly Corot, who modelled form and suggested space with the brush, instead of distinguishing painting from drawing and colour from line.
Etude, Jeanne Baudot en chapeau vert illustrates Renoir's expertise in both the art of portraiture and his new modern techniques. A young woman with red hair is dressed in colourful shawl set off with a ruffled white collar, echoed in a hat richly decorated in a swirl of light fabric and flowers. Although executed very delicately, she stands out clearly from the background. This is reduced to a simple coloured backdrop and, far from invading the figure, makes her stand out even more, encircling her shoulders and highlighting the red tones of her hair, as well as the fresh pink accents of her cheek and the greens and turquoises of her hat. Skin tones are rendered in graduated beige and pinkish tones and not, as in previous years, in contrasts of hot and cold tones, particularly including blues. Forms are developed with cursory, rhythmic movements, which, in a single gesture, define them and create the meaning.
With this gracious and elegant portrait, Renoir distinguishes himself as a great portraitist. Paul Gauguin had also noticed all the suggestive power of the artist's work: "Nothing is in place with Renoir. Do not look for lines, they do not exist. As if by magic a little dash of colour or a caressing light communicates enough. On cheeks, like on a peach, a layer of downy hairs undulate, stirred by the breeze of love which plays its music to the ears" (P. Gauguin, quoted in Renoir in the 20th Century, exh. cat., Paris, Paris, 2009, p. 87).
Portraiture occupies a fundamental place in the work of Pierre-Auguste Renoir. The artist owed his first public success to an ambitious family portrait, Portrait de Madame Charpentier et de ses enfants (New York, The Metropolitan Museum), exhibited at the Paris Salon in 1879 and whose main model, Madame Charpentier - the wife of the publisher of Flaubert, Zola, the Goncourt brother and Huysmans - was behind the rise in Renoir's portrait commissions at the start of the 1880s.
Although from the early 1890s, Renoir's dealer, Paul Durand-Ruel - observing a drop in demand for portraits from collectors - tried to convince him to reduce his production of this type of work, the artist remained very attached to portraiture. Between 1890 and 1900, the subject of most of his work was "figures in elegant modern dress - young ladies often wearing fantastic hats, some head-and-shoulders, some half body, others full length, alone or with a companion." (J. House, Renoir, exh. cat., Paris, 1985, p. 255).
However, at this time, Renoir did abandon the rigid structure employed the 1880s in favour of a freer treatment with more open space. He studied in greater depth how to combine sharpness of form with free play of touches of colour. His main sources of inspiration were 18th-century French artists, particularly Corot, who modelled form and suggested space with the brush, instead of distinguishing painting from drawing and colour from line.
Etude, Jeanne Baudot en chapeau vert illustrates Renoir's expertise in both the art of portraiture and his new modern techniques. A young woman with red hair is dressed in colourful shawl set off with a ruffled white collar, echoed in a hat richly decorated in a swirl of light fabric and flowers. Although executed very delicately, she stands out clearly from the background. This is reduced to a simple coloured backdrop and, far from invading the figure, makes her stand out even more, encircling her shoulders and highlighting the red tones of her hair, as well as the fresh pink accents of her cheek and the greens and turquoises of her hat. Skin tones are rendered in graduated beige and pinkish tones and not, as in previous years, in contrasts of hot and cold tones, particularly including blues. Forms are developed with cursory, rhythmic movements, which, in a single gesture, define them and create the meaning.
With this gracious and elegant portrait, Renoir distinguishes himself as a great portraitist. Paul Gauguin had also noticed all the suggestive power of the artist's work: "Nothing is in place with Renoir. Do not look for lines, they do not exist. As if by magic a little dash of colour or a caressing light communicates enough. On cheeks, like on a peach, a layer of downy hairs undulate, stirred by the breeze of love which plays its music to the ears" (P. Gauguin, quoted in Renoir in the 20th Century, exh. cat., Paris, Paris, 2009, p. 87).