French Impressionist Painter, 1841-1919 Pierre-Auguste Renoir (February 25, 1841?CDecember 3, 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau". Renoir's paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of color, so that his figures softly fuse with one another and their surroundings. His initial paintings show the influence of the colorism of Eugene Delacroix and the luminosity of Camille Corot. He also admired the realism of Gustave Courbet and Edouard Manet, and his early work resembles theirs in his use of black as a color. As well, Renoir admired Edgar Degas' sense of movement. Another painter Renoir greatly admired was the 18th century master François Boucher. A fine example of Renoir's early work, and evidence of the influence of Courbet's realism, is Diana, 1867. Ostensibly a mythological subject, the painting is a naturalistic studio work, the figure carefully observed, solidly modeled, and superimposed upon a contrived landscape. If the work is still a 'student' piece, already Renoir's heightened personal response to female sensuality is present. The model was Lise Tr??hot, then the artist's mistress and inspiration for a number of paintings. In the late 1860s, through the practice of painting light and water en plein air (in the open air), he and his friend Claude Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them. Several pairs of paintings exist in which Renoir and Monet, working side-by-side, depicted the same scenes (La Grenouill??re, 1869). One of the best known Impressionist works is Renoir's 1876 Dance at Le Moulin de la Galette (Le Bal au Moulin de la Galette). The painting depicts an open-air scene, crowded with people, at a popular dance garden on the Butte Montmartre, close to where he lived. On the Terrace, oil on canvas, 1881, Art Institute of ChicagoThe works of his early maturity were typically Impressionist snapshots of real life, full of sparkling colour and light. By the mid 1880s, however, he had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women, such as The Bathers, which was created during 1884-87. It was a trip to Italy in 1881, when he saw works by Raphael and other Renaissance masters, that convinced him that he was on the wrong path, and for the next several years he painted in a more severe style, in an attempt to return to classicism. This is sometimes called his "Ingres period", as he concentrated on his drawing and emphasized the outlines of figures. After 1890, however, he changed direction again, returning to the use of thinly brushed color which dissolved outlines as in his earlier work. From this period onward he concentrated especially on monumental nudes and domestic scenes, fine examples of which are Girls at the Piano, 1892, and Grandes Baigneuses, 1918-19. The latter painting is the most typical and successful of Renoir's late, abundantly fleshed nudes. A prolific artist, he made several thousand paintings. The warm sensuality of Renoir's style made his paintings some of the most well-known and frequently-reproduced works in the history of art..  Related Paintings of Pierre Renoir :. | Paul Berard | The Nudes Wearing Hats | By the Fireside | Two Girls | Dance in the Country |
Related Artists:
Raffaele Giannetti
Italian Academic Painter, 1832-1916
GREUZE, Jean-Baptiste
French Rococo Era Painter, 1725-1805 French painter and draughtsman. He was named an associate member of the Academie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads . These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Simeon Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Francois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850, when 18th-century painting returned to favour, by such critics as Theophile Thore, Ars?ne Houssaye and, most notably, Edmond and Jules de Goncourt in their book L'Art du dix-huitieme siecle. By the end of the century Greuze's work, especially his many variations on the Head of a Girl, fetched record prices, and his Broken Pitcher (Paris, Louvre) was one of the most popular paintings in the Louvre. The advent of modernism in the early decades of the 20th century totally obliterated Greuze's reputation.
Floris Verster
1861-1927 Dutch Floris Verster Gallery Dutch painter. He trained first at the Ars Aemula Naturae school in Leiden under George Hendrik Breitner, then at The Hague Academie (1879-82) and the Brussels Academie (1882). In Leiden in 1882 he started painting landscapes in the style of the Hague school. From 1882 to 1892 he shared a studio in Leiden with the still-life painter Menso Kamerlingh Onnes (1860-1925), who was to become his brother-in-law. Influenced by Onnes and such French realists as Antoine Vollon and Theodule Ribot, in 1885 he turned to painting still-lifes in a mildly Impressionist style that by 1888-9 often attained monumental formats, as in Peonies (1.35*2.00 m, 1889; Amsterdam, Stedel. Mus.). He submitted some of these to exhibitions, where their reception was mixed; artists including Breitner, H. W. Mesdag and Jacob Maris were enthusiastic, but the critics quite often were not. He participated in a few exhibitions abroad, notably from 1890 to 1894 in Munich and in 1891 with Les XX in Brussels.