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 :. | Young Girl with a Falcon | Landscape with Two Figures | Pathway Through Tall Grass | Nymph by a Stream | In the Meadow |
Related Artists:Eliseu Visconti
Eliseu Visconti Gallery
Brazilian painter and decorative artist, of Italian birth. He was taken as an infant from Italy to Rio de Janeiro. In 1884 he began studying in Rio de Janeiro at the Academia Imperial das Belas Artes and the Liceu Imperial de Artes e Of?cios under Victor Meirelles de Lima, Henrique Bernardelli (1837-1946) and Rodolfo Amoedo (1857-1941). He was active in efforts to eliminate the academy's rigid academic discipline. He went to Paris in 1892 and attended the Ecole des Beaux-Arts and the Ecole des Arts D?coratifs, where he was taught by Eug?ne-Samuel Grasset. At the 1900 Exposition Universelle in Paris, Visconti won a silver medal for the paintings Youth (1898) and Dance of the Wood Nymphs (1899; both Rio de Janeiro, Mus. N. B.A.). Following the Pre-Raphaelites, his main influences were Botticelli and other painters of the Italian Renaissance, but he was also affected by Grasset and Art Nouveau. On his return to Brazil, among the works exhibited in 1901 in Rio de Janeiro were a series of ceramic objects with Brazilian floral motifs and designs for postage stamps. His florid style began to give way to Impressionism in the stage curtain, circular ceiling panel and proscenium frieze he executed for the Rio de Janeiro Teatro Municipal (1906-7; in situ). In 1906 he became director of painting at the Escola Nacional de Belas Artes in Rio de Janeiro.Juan Ribalta
b. 1597, Madrid, d. 1628, Valencia,was a Spanish painter of the Baroque period. Born and died in Valencia. His father, Francisco Ribalta, was a famous painter, active in the style of Caravaggio. Juan's works and style are similar to that of his father.
BRAY, Jan de
Dutch Baroque Era Painter, ca.1627-1697
Painter, draughtsman and etcher, son of Salomon de Bray. He spent virtually the whole of his career in Haarlem, except for the period 1686-8, when he lived in Amsterdam. After training with his father, Jan began working as a portrait painter in Haarlem in 1650, an activity he continued for the next 40 years. Between 1667 and 1684 he served on the committee for the Haarlem Guild of St Luke, whose leading members he portrayed in a picture dated 1675 (Amsterdam, Rijksmus.) that includes a self-portrait (Jan is seen standing and drawing on the left). He married three times, in 1668, 1670 and 1672. His first two wives died a year after their marriage, his third two years afterwards, and in each case the death was followed by disputes over the inheritance. Jan's bankruptcy of 1689 may have been a result of one of the lawsuits.