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RENOIR, Pierre-Auguste, Baigneuse s’essuyant (Bathers Drying Themselves)
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 1… [Read biography »]
Signed Pierre-Auguste Renoir (1841 - 1919), Brush, black ink and wax crayon on paper, Baigneuse s’essuyant (Bathers Drying Themselves)  |
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| Artist: | Renoir, Pierre-Auguste (1841 - 1919) |
|---|---|
| Title: | Baigneuse s’essuyant (Bathers Drying Themselves) |
| Medium: | Brush, black ink and wax crayon on paper |
| Image Size: | 21 in x 17 3/4 in (53.3 cm x 45.4 cm) |
| Sheet Size: | 21 in x 17 3/4 in (53.3 cm x 45.4 cm) |
| Framed Size: | 39 1/2 in x 35 in (100.3 cm x 88.9 cm) |
| Signed: | Stamped 'Renoir' in the upper left and inscribed 'Cote a danse [sic]' in the upper right |
| Edition: | A unique, original drawing, authenticated by Guy-Patrice & Michel Dauberville and included within the Bernheim-Jeune Archives as an authentic work |
| Condition: | This drawing is in good, sound condition. There are some marginal repairs at the sheet edges and scattered staining associated |
Price :Item# 1893 | $90,000  To speak directly with the Director, Alex Adelman, please call (510) 777-9970 / 1-800-805-7060. |
| Description: | |
This unique figural study done by Renoir gives us a glimpse into both the vision and brilliance of this 19th century artist. Both fascination and appreciation of the human form gave way to several extraordinary works, allowing us to share in his insight the beauty in nature captured in all forms. Created from black ink and wax crayon on paper, this piece is signature stamped ‘Renoir’ in the upper left and inscribed ‘Cote a danse [sic]’ in the upper right. Both Guy-Patrice and Michel Dauberville have confirmed the authenticity of the work and will be included in the Bernheim-Jeune archives as an authentic, original work of art by Pierre-Auguste Renoir (1841-1919) . This drawing becomes particularly interesting both in terms of capturing the essence of Renoir’s methodology and also the manner in which he studied and portrayed his subjects. Featuring one primary figure in a semi-reclined position, her back faces the audience, with shoulders turned one way and knees pointed the other. Thus the convoluted position in which she finds herself only paves the way for Renoir’s genius in portraying the organic, human form. A series of small, profile portraits line the lower margin of the sheet, each time her face looking in a different direction and captured at various angles. One can notice the careful attention paid to the manner in which light reflects and highlights off each of her features, creating her more familiar visage and complacent expression. This work is truly a fascinating insight to Renoir’s skill and mastery as one of the most influential 19th century artists of our time. PROVENANCE: The Estate of Bo Widerberg, Sweden Catalogue Raisonné & COA: 1. P. Renoir & S. Pirra, 125 dessin inédits de Pierre-Auguste Renoir, Turin 1971. Illustrated as cat. no. D 0264. 2. This work will be included in the Bernheim-Jeune Archives as authenticated by Guy-Patrice and Michel Dauberville; original certificates of authenticity will be included with the work. About the Framing: | |
Biography of 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. He 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, Dega, Pissarro, etc. 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 1970s 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.
Phaidon Dictionary of Twentieth Century Art.
