Pierre-Auguste Renoir, Claude Renoir, La Tête Baissée (Claude Renoir, Head Lowered), 1904
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Email to FriendSigned Pierre-Auguste Renoir, Lithograph, Claude Renoir, La Tête Baissée (Claude Renoir, Head Lowered), 1904  |
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| Artist: | Renoir, Pierre-Auguste (1841 - 1919) |
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| Title: | Claude Renoir, La Tête Baissée (Claude Renoir, Head Lowered), 1904 |
| Medium: | Original Lithograph on Japon paper |
| Image Size: | 8.5 in x 7.4 in (21.5 cm x 18.8cm) |
| Sheet Size: | 13 1/8 in x 9 7/8 in (33.4 cm x 25 cm) |
| Framed Size: | 28 1/2 in x 25 in (72.4 cm x 63.5 cm) |
| Signed: | Signed in the stone Pierre-Auguste Renoir (1841 – 1919) in the lower right margin. |
| Edition: | From the rare edition of 50 printed on Japon ancien paper with deckle edges on all sides. A 2nd state impression published for the text, l’Album de Douze LIthographies originales de Pierre-Auguste Renoir by A. Vollard (Paris, 1919). |
| Condition: | This work is in pristine condition – a bold impression with wide margins and deckle edges on all sides. |
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Gallery Price
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Item# 2166
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| MFA SALE | $5,000 |
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Upon first look this work appears to be of a female child, but the child is in fact Claude Renoir, Renoir's son. Renoir's style was to feminize his sons by focusing on their long girlish hair, which was a representation of his bourgeois family lifestyle. Renoir was 60 years old when Claude was born, and in this image Renoir seems to take delight in the child's exploration of the world. This is seen in Claude's inquisitive stare that threatens to give way at any moment to the child's developing question. |
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| Historical Description: | |
Dressed in a wide collared shirt, Claude Renoir is the quintessential image of a developing toddler. Intently studying an object just beyond the depicted picture plane, it is only a matter of time before the child bolts to a newly discovered mystery. Executed in 1904, this is an example of the second state, printed with the artist’s stamped signature in the lower right. The work belongs to the edition of 950 printed on vélin paper and was printed by Auguste Clot, Paris. From the Vollard Suite, this work was one of 12 lithographs published in the book l’Album des Douze LIthographies originales de Pierre Auguste Renoir. With a down turned head, young Claude appears in a moment of tentative immobility. His face is marked by shifting bands of light, suggesting he is either in a shaded room or outside under a tree or other foliage. The child’s inquisitive stare, threatens to give way at any moment to the child’s developing question. Claude Renoir was born in 1901 when Renoir was 60 years of age. Michel Ferloni and Dominique Spies state, "it must have been a great joy for the nearly helpless Renoir to follow the smile or the games of this marvelous little being with chubby cheeks, still free as the air and bouncing with life, who was his son" (Ferloni, 56). Catalogue Raisonné & COA: 1) Delteil, Loys, Pierre-Auguste Renoir, The Etchings and Lithographs, 1999, listed as image 39 on page 84 - 85. 2) Stella, Dr. Joseph G., The graphic Work of Renoir, illustrated and listed as #39. 3) Roger-Marx, Claude, Les Lithographies de Renoir, listed as image 14. 4) Johnson, Una, Ambroise Vollard Editeur, 1944, book listed as cat. no. 151 on pgs 129 and 130. About the Framing: | |
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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. 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 1870s 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.
