Pierre-Auguste Renoir, Ambroise Vollard, c. 1904
|Artist:||Renoir, Pierre-Auguste (1841 - 1919)|
|Title:||Ambroise Vollard, c. 1904|
|Reference:||Stella 37, Delteil 37|
Original Lithograph on Japon Paper
|Image Size:||9 1/8 in x 6 3/4 in (23.8 cm x 17 cm)|
|Sheet Size:||13 1/16 in x 9 3/4 in (33.2 cm x 24.8 cm)|
|Framed Size:||30 3/4 in x 27 3/4 in (78.1 cm x 70.5 cm)|
|Signed:||Signed by Pierre-Auguste Renoir (Limoges, 1841 - Cagnes-sure-Mer, 1919) in black in the stone, lower right margin.|
|Edition:||From the edition of 50 pulled on Japon paper with deckle edges on all sides.|
|Condition:||This work is in excellent condition, a fine impression with full margins|
|Gallery Price: |
|SOLD, but we have similar works in our Renoir collection!|
|Historical Description of This Work:|
From the artist's suite of twelve lithographs published by the sitter for this portrait, this work represents an intimate view of the prolific publisher as seen through Renoir's eyes. Appearing quietly introspective, a sense of depth and beauty is mastered in this piece.
Created c. 1904, this original lithograph was printed on Japon paper in an edition of only 50 and published by Ambroise Vollard. Signed by Pierre-Auguste Renoir (Limoges, 1841 - Cagnes-sur-Mer, 1919) in the stone in the lower left, this work was printed by Auguste Clot, Paris. Other impressions of this work have been in the collections of the Kupferstich-Kabinett, Dresde; Bibliothèque Nationale, Paris; Art Institute of Chicago; Boston Public Library; Metropolitan Museum of Art, N.Y.; New York Public Library; National Gallery of Art, Washington DC; Philadelphia Museum of Art.
Illustrating an extremely intimate portrait of the renowned publisher, Renoir expresses his delicate sensitivity toward the subject in this work. Appearing quiet and calm, Vollard sits in profile with his head lowered and eyes nearly closed. The use of hatched lines to create shadow and depth give this image a layered textural quality, with a softness created from the light edges surrounding the sitter. Dr. Joseph Stella stated in his catalogue 'The Graphic Work of Renoir', "Vollard was a close friend of Renoir and was one of the greatest art dealers and publishers of this period. He had dealings with all of the major artists of his time, including Cézanne and Picasso."
Catalogue Raisonné & COA:
1. Stella, J. G. The Graphic Work of Renoir - Catalogue Raisonné. Listed and illustrated as catalogue raisonné no. 37.
2. Delteil, L. (1999). Pierre-Auguste Renoir: L'uvre grave et lithographié - Catalogue Raisonné. Hyman, A. (Ed.). Alan Wofsy Fine Arts: San Francisco. Listed and illustrated as catalogue raisonné no. 37 on pg. 81.
3. A Certificate of Authenticity will accompany this work.
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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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