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拍品專文
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.
Following the inspiration of the earlier Barbizon School, whose artists, including Jean-Baptiste-Camille Corot and François Millet, first painted en plein air in the 1830s, Renoir and other Impressionists began painting the landscapes which would eventually give the group its name. Artists like Renoir, Alfred Sisley, Camille Pissarro, and Claude Monet experimented with the portrayal of light and atmosphere in their paintings as they took in the scenes around them, recording their experience in broken brushstrokes and a broad range of colors.
The present landscape was executed in the late summer or early fall of 1892, on a trip to the countryside with his family. It was an auspicious year for the artist: having had a solo show at Durand-Ruel the year before, he had finally achieved world renown, so much so that the gallery gave him another show including 110 paintings spanning twenty years of his career.
In Paysage de Bretagne, the long, swirling brush strokes of the sky signal the imminent Northern weather, while the tighter strokes and playful color in the town below and throughout the fields exhibits attention to detail and light. As a modern critic puts it, "Monet may have had a genius for painting light, but Renoir also painted light, as well as humidity hanging in the air, wind flattening grass, briskly moving water and leaves whose textures change with both distance and variety" (R. Smith, The New York Times, 5 October 2007).
Following the inspiration of the earlier Barbizon School, whose artists, including Jean-Baptiste-Camille Corot and François Millet, first painted en plein air in the 1830s, Renoir and other Impressionists began painting the landscapes which would eventually give the group its name. Artists like Renoir, Alfred Sisley, Camille Pissarro, and Claude Monet experimented with the portrayal of light and atmosphere in their paintings as they took in the scenes around them, recording their experience in broken brushstrokes and a broad range of colors.
The present landscape was executed in the late summer or early fall of 1892, on a trip to the countryside with his family. It was an auspicious year for the artist: having had a solo show at Durand-Ruel the year before, he had finally achieved world renown, so much so that the gallery gave him another show including 110 paintings spanning twenty years of his career.
In Paysage de Bretagne, the long, swirling brush strokes of the sky signal the imminent Northern weather, while the tighter strokes and playful color in the town below and throughout the fields exhibits attention to detail and light. As a modern critic puts it, "Monet may have had a genius for painting light, but Renoir also painted light, as well as humidity hanging in the air, wind flattening grass, briskly moving water and leaves whose textures change with both distance and variety" (R. Smith, The New York Times, 5 October 2007).