RENOIR, Pierre-Auguste, Femme au cep de Vigne (Woman by the Grape-Vine), 1904
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 »]
Signed Pierre-Auguste Renoir (1841 - 1919), Original Black and White Lithograph, Femme au cep de Vigne (Woman by the Grape-Vine), 1904  |
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| Artist: | Renoir, Pierre-Auguste (1841 - 1919) |
|---|---|
| Title: | Femme au cep de Vigne (Woman by the Grape-Vine), 1904 |
| Medium: | Original Black and White Lithograph |
| Image Size: | 4.5 in x 3.3 in (11.5 cm x 8.5 cm) |
| Sheet Size: | 14.8 in x 10.6 in (37.5 cm x 27 cm) |
| Framed Size: | 27 3/4 in x 22 3/4 in (70.5 cm x 57.8 cm) |
| Signed: | Hand signed by Pierre-Auguste Renoir (1841 - 1919) in the stone in the lower left margin |
| Edition: | From the total edition of 950 printed on vellum paper and published in 1919 for the book, l'Album des Douze Lithographies originales de Pierre Auguste Renoir (Paris, A. Vollard) |
| Condition: | A bold, crisp impression in good condition with wide margins |
| Price: Item# 2189 | $SOLD Please visit the rest of our RENOIR inventory » |
| Description: | |
One of Renoir's favored graphic motifs, this image depicts two female figures juxtaposed with sensuous grape vines. The artist fluid handling of the brush offers a visceral sense of motion which activates the work. Created circa 1904, this work is an example of the second state of this image. Printed by Auguste Clot, Paris, this piece is signed by Renoir on the stone in the lower left. From the Vollard Suite, the work is printed on vellum paper indicating that the work is from the edition of nine hundred and fifty. This work was published in a volume of 12 lithographs entitled, l'Album des Douze Lithographies Originales de Pierre Auguste Renoir (Paris, A. Vollard, 1919). Renoir is recorded as stating "the simplest subjects are eternal. A nude woman getting out of the briny deep or out of her bed, whether she is called Venus or Nini, one can invent nothing better" (Raeburn, 263). The artist's adoration of the female figure is well documented in his frequent portrayal of the nude figure, yet this image offers a delicate and personal variation on the theme. With this image the artist places the figure in a grape vineyard rather at her toilette or bathing en plein air. The notational quality of this work captures the frenetic energy of artist inspiration. Catalogue Raisonné & COA: 1) Delteil, Loys, Pierre-Auguste Renoir, The Etchings and Lithographs, 1999, listed as image 47 on page 100-101. 2) Stella, Dr. Joseph G., The graphic Work of Renoir, illustrated and listed as #47. 3) Roger-Marx, Claude, Les Lithographies de Renoir, listed as image 22. 4) Johnson, Una, Ambroise Vollard Editeur, 1944, book listed as cat. no. 151 on pgs 129 and 130. 5) Johnson, Una, Ambroise Vollard Editeur, 1977, book listed as cat no 118 on pgs 146 and 147. 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.
