Pierre-Auguste Renoir, Le petit garcon au porte-plume (Little Boy with Quill Pen), c.1900
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| Artiste: | Renoir, Pierre-Auguste (1841 - 1919) |
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| Titre: | Le petit garcon au porte-plume (Little Boy with Quill Pen), c.1900 |
| Référence: | Stella 55, Delteil 55 |
| Moyen: | Lithographie |
| Taille d'image: | 15 5/8 in x 11 3/4 in (39.8 cm x 29.8 cm) |
| Taille de feuille: | 22 3/4 in x 18 in (57.8 cm x 45.7 cm) |
| Taille encadrée: | 39 1/2 in x 35 3/4 in (100.3 cm x 90.8 cm) |
| Edition: | From an only state out of an edition of 50 unsigned proofs |
| Condition: | This work is in excellent condition, a fine impression with dark contrasts and full margins; lightly mounted on back sheet |
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Article# 2358
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There was no subject that inspired Renoir more than his family, and in Le petit garcon au porte-plume, Renoir depicts his son, Claude Renoir, with such affection and admiration that over 100 years later we are still charmed by this portrait study. In this particular piece, Renoir has skillfully used the background shading to centralize the focus and impact of his son within the composition. Claude is depicted as incredibly expressive, which is something only seen in Renoir's works of his children and large groups, making the work quite a gem to own. |
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| Description historique: | |
This very charming and intriguing portrait study of Pierre-Auguste Renoir’s young son,Claude, is shown here, deep in childish though as he writes (or draws) with his quill pen. He is incredibly expressive, wearing a contemplative yet happy smile, slightly biting his index finger as if to be in deep concentration. Renoir has skillfully used background shading in order to centralize the focus and impact of his son within the composition. We can imagine the plane of the table depicted by the manner in which Claude’s elbows rest on the surface. Created in c. 1900 this original lithograph is from an only state out of an edition of 50 unsigned proofs. There is an MBM Cerange watermark visible within the sheet. Catalogue Raisonné & COA: A Certificate of Authenticity will accompany this work. About the Framing: | |
| Style: | Impressionist |
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La biographie de Pierre-Auguste Renoir
Pierre-Auguste Renoir (1841 - 1919)
French painter born in Limoges, died in Cagnes. He was the son of a tailor. In 1845 his family moved to Paris. Between 1856 and 1859 he took an apprenticeship and then worked as a porcelain painter, also taking evening classes in drawing. Renoir then studied at the Ecole des Beaux-Arts, Paris. He was a fellow student of Monet, Sisley and Bazille; he went on summer painting trips with them to Chailly and Fountainbleau. He studied the eighteenth century paintings in the Louvre and also met Corot, Millet and Diaz. In 1864 his work was first accepted at the Salon. During the 1870s he painted with Monet at Argenteuil and elsewhere, and came to know Cezanne, Degas, and Pissarro. In 1874 his work was included in the first Impressionist exhibition (and in three of the subsequent seven.) He had little public success but was patronized by Caillebotte, Chocquet and others. From the late 1870s on he enjoyed increased success at the Salons, especially with portraiture. Eventually, he became dissatisfied with Impressionism and felt renewed admiration for Ingres, Raphael and eighteenth-century art. During the 1880s he worked increasingly in the south of France. Renoir's early work as a porcelain painter reflects two constant characteristics of his art: an enormous natural facility and a dedication to eighteenth century standards of decoration and craftsmanship. Apart from the personality of his brushwork, the main distinction of his 1870s Impressionism was his preoccupation with the figure as subject matter and particularly with the gay vitality of Parisian life. Less rigorously introspective than Monet, he made his reputation at the Salons from the late 1870s with a series of fashionable portraits. Here his dexterity was combined with anecdotal charm. many of the sculptures he made at the end of his life are direct transpositions of painted motifs. These were largely made by an assistant (a pupil of Maillol), Renoir's own hands being almost crippled with arthritis. ¹
¹ Phaidon Dictionary of Twentieth Century Art.
