Pierre-Auguste Renoir, La Pierre au Trois Croquis (The Stone with Three Sketches), 1904
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Email to FriendSigné Pierre-Auguste Renoir, Lithographie, La Pierre au Trois Croquis (The Stone with Three Sketches), 1904  |
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| Artiste: | Renoir, Pierre-Auguste (1841 - 1919) |
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| Titre: | La Pierre au Trois Croquis (The Stone with Three Sketches), 1904 |
| Moyen: | Lithographie |
| Taille d'image: | 11 13/8 in x 8 7/8 in (29 cm x 22.5 cm) |
| Taille de feuille: | 13 in x 9 3/4 in (33 cm x 24.8 cm) |
| Taille encadrée: | 30 in x 27 in (76.2 cm x 68.6 cm) |
| Signé: | Signed by Pierre-Auguste Renoir (Limoges, 1841 - Cagnes-sur-Mer, 1919) in black the stone, lower left. |
| Edition: | Printed on vellum paper from the second state of two (from the total edition of 1000, 1-50 on Japan, 51-1,000 on vellum); included in Ambroise Vollard's L'album des douze lithographies originales de Pierre-Auguste Renoir (1919). |
| Condition: | This work is in excellent condition, a fine dark impression. |
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Prix
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Article# 3277
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| MFA SALE | $6,000 |
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Renoir held a strong admiration for the female form, and this Stone with Three Sketches portrays his interest in accurately portraying the reality of women during his time period. What makes this piece noteworthy is that the women seem to be in an aura of bliss, with the focus on their faces rather than their bodies. |
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| Description historique: | |
| A warm and loving depiction of a group of three women, the delicate soft appearance
of these portraits evokes a sense of the romanticism and sensitivity put forth
by Renoir in this piece. The watercolor wash effect creates a fluid layering
of tones, giving depth and richness to the image.
Created in c.1904, this piece was printed on vellum paper from the second state of two (from the total edition of 1000, 1-50 on Japan, 51-1,000 on vellum); included in Ambroise Vollard's L'album des douze lithographies originales de Pierre-Auguste Renoir (1919). Printed by Auguste Clot, Paris, this work is signed in the stone in the lower left. All of the stones were de-faced after the publication, as documented by Joseph Stella. Three women are arranged with one portrait encompassing the majority of the left side, and two busts in the upper right. The woman at the left grabs the viewer, with the deep rich dark tones of her hair and intent shading within her face. Given a soft expression, she looks below to what we cannot see adding intrigue and a mysterious air to the work. The two smaller figures recede back into space, each with their heads tilted in the same direction, as though all three are examining the same thing out of our sight. With a romantic air, created through the use of layering washes of tones, the loose quality of the imagery gives a sense of freshness and immediacy of Renoir's impression of the figures. The artist's technical skill and mastery is evident in this work, expressing his strong sense of form and aesthetic beauty. Documented and Illustrated in: About the Framing: | |
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![Renoir, Jeune fille en buste et etudes de têtes (ou Gabrielle) [Three Sketches of Faces, Gabrielle]](/inventory/renoir/prev_renoir2985.jpg)
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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.
