Pierre-Auguste Renoir, Claude Renoir, Tourné à Gauche (Claude Renoir, Turning to the Left), c. 1904
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Email to FriendSigné Pierre-Auguste Renoir, Lithographie, Claude Renoir, Tourné à Gauche (Claude Renoir, Turning to the Left), c. 1904  |
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| Artiste: | Renoir, Pierre-Auguste (1841 - 1919) |
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| Titre: | Claude Renoir, Tourné à Gauche (Claude Renoir, Turning to the Left), c. 1904 |
| Moyen: | Lithographie |
| Taille d'image: | 5 in x 4 5/8 in (12.8 cm x 11.8 cm) |
| Taille de feuille: | 13 1/8 in x 9 7/8 in (33.4 cm x 25 cm) |
| Taille encadrée: | 29 in x 25 1/8 in (73.7 cm x 63.8 cm) |
| Signé: | Signed by Pierre-Auguste Renoir in the stone in the lower right margin |
| Edition: | From the second state of the edition of only 50 on Japon paper with Renoir's signature (aside from the edition of 950 on vellum paper) |
| Condition: | This work is in pristine condition; a bold impression with wide margins |
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Prix
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Article# 3390
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| MFA SALE | $7,000 |
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Upon first look this work appears to be of a female child, but the child is in fact Claude Renoir, Renoir's son. Renoir's style was to feminize his sons by focusing on their long girlish hair, which was a representation of his bourgeois family lifestyle. Renoir was 60 years old when Claude was born, and in this image Renoir seems to cherish the image of his son. This is seen in Claude's calm demeanor, implying that Renoir simply wanted to memorialize his son rather than project his life, making the work an extremely moving piece. |
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| Description historique: | |
From the second state of the edition of only 50 on Japon paper with Renoir's signature (aside from the edition of 950 on vellum paper) Turning frequently to his family for inspiration, this intimate image is a notional rendering of the artist's youngest son, Claude, who frequently served as one of Renoir’s favored subjects. Executed in a gestural fashion, the artist manipulates light and form to capture the jubilant contours of the child's face. Created in 1904, this work is from the second state from the signed edition of only 50 printed on Japon paper (which is known to be more absorbent and also enhances subtle details); the blacks are blacker, the shades are subtler, etc. The work was published in L'album des douze lithographies originales de Pierre Auguste Renoir by Vollard in 1919. There was also another edition of 950 printed on vellum paper. Claude Renoir, son of the artist, was born in 1901 when Pierre-Auguste Renoir was already 60 years of age. Michel Ferloni and Dominique Spies state, "it must have been a great joy for the nearly helpless Renoir to follow the smile or the games of this marvelous little being with chubby cheeks, still free as the air and bouncing with life, who was his son" (Ferloni, 56). This sense of fascination with his son is evident in the artist's delicate rendering of the petit nose and delicate lips. The child appears to be studying something just beyond the picture plane with an intent glare of childish curiosity. Catalogue Raisonné & COA: About the Framing: | |
| Style: | Impresionist |
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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.
