Pierre-Auguste Renoir, L'enfant Au Biscuit (Child With Cookie) - Jean Renoir, (C. 1898-9)
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 »]
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Pierre-Auguste Renoir, Original color lithograph printed in five colors, L'enfant Au Biscuit (Child With Cookie) - Jean Renoir, (C. 1898-9)  |
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| Artist: | Renoir, Pierre-Auguste (1841 - 1919) |
|---|---|
| Title: | L'enfant Au Biscuit (Child With Cookie) - Jean Renoir, (C. 1898-9) |
| Medium: | Original color lithograph printed in five colors |
| Image Size: | 12 3/4 in x 10 1/2 in (32.4 cm x 26.7 cm) |
| Sheet Size: | 15 1/4 in x 18 1/4 in (28.8 cm x 46.4 cm) |
| Framed Size: | 27 1/4 in x 25 in (69.23 cm x 63.5 cm) |
| Edition: | From the rare trial proof in five colors printed by Auguste Clot with blue added to the eyes and white added to the face and background |
| Condition: | Good condition, with bright, vibrant color throughout, sheet at bottom marginally trimmed, but has 2.7 in (R) and 3 in (L) margin at the bottom |
Price :Item# 1761 | $75,000  To speak directly with the Director, Alex Adelman, please call (510) 777-9970 / 1-800-805-7060. |
| Description: | |
An intimate portrait of his second son, Jean Renoir (1894 – 1979) , evokes a childlike sentiment and love that Renoir had for his children. Most likely no more than age 3, Jean is shown here with a cookie, beneath a frilly bonnet characteristic of late 19th century French society. His pink, rosy cheeks are defined with rich, glowing hues that contrast from the pale yellow and grey background in which he rests. Jean was also featured in a family portrait of the Renoirs, titled La Famille de l’Artiste (1896) . Created in c. 1898-9, this work comes from the rare, unsigned trial proof (aside from an edition of 100) in five colors: black, gray, green, rose, and yellow. Printed on laid paper by August Clot, he is thought to have added the blue to the eyes and the white to the face and background, making this print considerably rare. 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. 31 on pgs. 66-69. 2. Roger-Marx, Claude. Graphic Art: The 19th Century, McGraw-Hill: New York, 1962. Detailed and illustrated on pgs. 198-9. 3. Roger-Marx, Claude. Les Lithographies de Renoir, André Sauret: Monte-Carlo. Listed and illustrated as catalogue raisonné no. 6 on pgs. 36-7. 4. Stella, Joseph G. The Graphic Work of Renoir, Lund Humphries: London. Listed and illustrated as catalogue raisonné no. 31. About the Framing: | |
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Biography of Pierre-Auguste Renoir
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. Renoir 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, and Pissarro. 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. ¹
¹ Phaidon Dictionary of Twentieth Century Art.
