Pierre Auguste Renoir
Pierre Auguste Renoir's Oil Paintings
Pierre Auguste Renoir Museum
February 25, 1841 – December 3, 1919. French painter.

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Pierre Renoir
Dancing Girl with Castanets

ID: 28623

Pierre Renoir Dancing Girl with Castanets
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Pierre Renoir Dancing Girl with Castanets


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Pierre Renoir

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 :. | Pierre-Henri Renoir or the Artist's brother | Bathers | Young Boy with a Cat | The Bridge at Argenteuil in Autunn | At the Cafe |
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John Ruskin,HRWS
1819-1900 English academic and critic, who had an enormous influence not only on architectural style but on the ways in which standards of aesthetics were judged. He used an Evangelical and polemical tone in his writings that not only reached a mass audience but received the approval of the Ecclesiologists. Initially encouraged by J. C. Loudon, he contributed to some of Loudon's publications, but his key works date from the late 1840s and 1850s. The Gothic Revival was well established when Ruskin published The Seven Lamps of Architecture (1849), which was an immediate success, encapsulating the mood of the period rather than creating new ideas. He argued that architecture should be true, with no hidden structure, no veneers or finishes, and no carvings made by machines, and that Beauty in architecture was only possible if inspired by nature. As exemplars worthy of imitation (he argued that the styles known to Man were quite sufficient, and that no new style was necessary) he selected Pisan Romanesque, early Gothic of Western Italy, Venetian Gothic, and English early Second Pointed as his paradigms. In the choice of the last, the style of the late C13 and early C14, he was echoing A. W. N. Pugin's preferences as well as that of most ecclesiologically minded Gothic Revivalists such as G. G. Scott. The Stones of Venice (1851C3) helped to promote that phase of the Gothic Revival in which Continental (especially Venetian) Gothic predominated. Deane and Woodward's University Museum, Oxford (1854C60), is an example of Venetian or Ruskinian Gothic. In particular, structural polychromy, featuring colour in the material used, rather than applied, was popularized by Ruskin's writings.






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