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拍品专文
This work will be included in the forthcoming Pierre-Auguste Renoir Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.
This work will be included in the second supplement to the Catalogue raisonné des tableaux, pastels, dessins et aquarelles de Renoir being prepared by Guy-Patrice and Floriane Dauberville, published by Bernheim-Jeune.
“Renoir was always discovering and rediscovering the world at every instant of his existence, with every breath of fresh air he drew,” his son Jean wrote. “It is because of this eager, child-like curiosity that Renoir was so fond of children” (Renoir, Paris, 1962, p. 198). Children played a central role in Renoir’s art well before he became a father himself in 1885. They are the subject of many of his most important portrait commissions of the 1870s and early 1880s, which depict the offspring of wealthy patrons such as the Bérard, Cahen d'Anvers, Charpentier, and Durand-Ruel families. These portraits generally show the children formally dressed and stiffly posed, in keeping with the norms of commissioned society portraiture.
It was not until Renoir began depicting his own growing children that the poses took on a more informal and intimate nature. He frequently incorporated a narrative element to keep his children occupied, such as playing with tin soldiers, drawing, painting or reading. He would later employ these strategies with other models, as seen in the present work from 1910. Here, the young girl sits engrossed in her reading material, seemingly unaware of the artist in front of her. Books distracted his models from the difficult task of posing at length, allowing Renoir to work at his own pace and capture his subject in a more naturalistic state. The harmonious, integrated palette of warm earth tones heightens the effect of a private, self-contained world. It is within this intimate space that Renoir captures the rapt curiosity of this young reader that he found so fascinating and that his son described as a crucial element that informed much of his work.
This work will be included in the second supplement to the Catalogue raisonné des tableaux, pastels, dessins et aquarelles de Renoir being prepared by Guy-Patrice and Floriane Dauberville, published by Bernheim-Jeune.
“Renoir was always discovering and rediscovering the world at every instant of his existence, with every breath of fresh air he drew,” his son Jean wrote. “It is because of this eager, child-like curiosity that Renoir was so fond of children” (Renoir, Paris, 1962, p. 198). Children played a central role in Renoir’s art well before he became a father himself in 1885. They are the subject of many of his most important portrait commissions of the 1870s and early 1880s, which depict the offspring of wealthy patrons such as the Bérard, Cahen d'Anvers, Charpentier, and Durand-Ruel families. These portraits generally show the children formally dressed and stiffly posed, in keeping with the norms of commissioned society portraiture.
It was not until Renoir began depicting his own growing children that the poses took on a more informal and intimate nature. He frequently incorporated a narrative element to keep his children occupied, such as playing with tin soldiers, drawing, painting or reading. He would later employ these strategies with other models, as seen in the present work from 1910. Here, the young girl sits engrossed in her reading material, seemingly unaware of the artist in front of her. Books distracted his models from the difficult task of posing at length, allowing Renoir to work at his own pace and capture his subject in a more naturalistic state. The harmonious, integrated palette of warm earth tones heightens the effect of a private, self-contained world. It is within this intimate space that Renoir captures the rapt curiosity of this young reader that he found so fascinating and that his son described as a crucial element that informed much of his work.