RENOIR, Pierre-Auguste, Les Baigneuses (Women Bathers), c. 1912
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 »]
Pierre-Auguste Renoir (1841 - 1919), Original transfer lithograph, Les Baigneuses (Women Bathers), c. 1912  |
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| Artist: | Renoir, Pierre-Auguste (1841 - 1919) |
|---|---|
| Title: | Les Baigneuses (Women Bathers), c. 1912 |
| Medium: | Original transfer lithograph |
| Image Size: | 14.37 in x 23.4 in (36.5 cm x 59.5 cm) |
| Sheet Size: | 18 1/4 in x 25 in (46.36 cm x 63.5 cm) |
| Framed Size: | 38 3/4 in x 45 in (98.43 cm x 114.3 cm) |
| Edition: | A rare print from the only state printed in an edition of 30-50 proofs |
| Condition: | Good condition, a bright and vibrant impression |
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| Description: | |
Created in c. 1912, this print is from the very rare and only state of approximately 30-50 proofs. Printed by Auguste Clot, this work is on Ingres d’Arches laid paper with deckle edges on three sides. This rare, large-scale impression features a bathing scene reminiscent of classical Greek mythology. It was created in Renoir’s classic impressionistic style with quick, light strokes that illuminate the environment in which these bathers are found. The scale in which this print was done was exceptional; as one of the few Renoir lithographs printed in this size, the work echoes one of his familiar oil paintings titled le Jugement de Pâris (The Judgment of Paris) . According to Loys Delteil: The art of etching has its own particular technique and processes, and to put them into practice an artist must be gifted with certain qualities such as lightness and sureness of hand. These were qualities that Renoir possessed, and after having shown them in his principal life’s work, his paintings, he could not fail to show them in his prints, which in fact he did. (ix) Catalogue Raisonné & COA: 1. Delteil, Loys. Pierre-Auguste Renoir, l’œuvre grave et lithographié, Catalogue Raisonné, Alan Hyman (ed.) Alan Wofsy Fine Arts: San Francisco, 1999. Listed and illustrated as catalogue raisonné no. 51 on pgs. 110-111. 2. Roger-Marx, Claude. Les Lithographies de Renoir, André Sauret: Monte-Carlo. Listed and illustrated as catalogue raisonné no. 27 on pgs. 78-9. 3. Stella, Joseph G. The Graphic Work of Renoir, Lund Humphries: London. Listed as catalogue raisonné no. 51 and illustrated as plate 51. 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, Degas, 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.
