Pierre-Auguste Renoir, Baigneuse assise (Woman Bathing, Seated), c. 1897
|Artist:||Renoir, Pierre-Auguste (1841 - 1919)|
|Title:||Baigneuse assise (Woman Bathing, Seated), c. 1897|
|Reference:||Stella 11, Delteil 11|
Original soft-ground Renoir etching
|Image Size:||8.6 in x 5.5 in (21.9 cm x 13.9 cm)|
|Sheet Size:||13 in x 9.8 in (33.2 cm x 25 cm)|
|Framed Size:||26 1/2 in x 22 5/8 in (67.3 cm x 57.5 cm)|
|Signed:||Stamp signed by Pierre-Auguste Renoir (1841-1919) in black, lower right margin and also signed in the plate in the upper left of the image|
|Edition:||From the second printing of the only state out of a total edition of 375 pulled on Arches wove paper; published by Ambroise Vollard and featured in his book, La vie & l’œuvre de Pierre-Auguste Renoir (Paris, 1919) out of the total edition of 1,000 copies done in black and white.|
|Condition:||This work is in excellent condition, a fine dark impression with a visible plate mark|
|Gallery Price: |
|SOLD. Please visit the rest of our Renoir fine art collection|
|Historical Description of This Work:|
Created in c. 1897, this original soft-ground etching is stamp signed by Pierre-Auguste Renoir (1841 1919) in black in the lower right margin and signed in the plate in the upper left of the image. From the second printing of the only state out of a total edition of 375 pulled on Arches wove paper; published by Ambroise Vollard and featured in his book, La vie & luvre de Pierre-Auguste Renoir (Paris, 1919). The total edition of the book was out of 1,000 copies done in black and white.
Under Renoir's agile hand his subjects become the very definitions of youth, joy, and grace as they inhabit a light-hearted world of delicate silhouettes and ethereal backgrounds. In this work, a young adolescent girl patiently sits as a model for the artist. His expert handling of light and the soft-ground medium further evokes the quiet contemplative beauty of his young female subject. Unique to this work is Renoir's subtle handling of her body through delicate details. Her supple skin, barely suggested by a few lines underneath her chest, along with her soft flowing hair and innocent expression, are just a few of the subject's qualities that are brought to life with Renoirs nimble, etched strokes.
Catalogue Raisonné & COA:
About the Framing:
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Pierre-Auguste Renoir Biography
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 Renoir's 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), because of his crippling arthritis.¹ Renoir also used a moving canvas to facilitate painting with his limited mobility.
¹ Phaidon Dictionary of Twentieth Century Art.
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