Pierre-Auguste Renoir, Maternité, Grande Planche c. 1912
Signed Pierre-Auguste Renoir, Lithograph, Maternité, Grande Planche c. 1912
|Artist:||Renoir, Pierre-Auguste (1841 - 1919)|
|Title:||Maternité, Grande Planche c. 1912|
|Reference:||D. S. 50|
|Image Size:||21 1/4 in x 19 in (54 cm x 48.3 cm)|
|Framed Size:||25 7/8 in x 19 1/2 in (65.7 cm x 49.5 cm)|
|Signed:||Signed 'Renoir' in the stone in the lower right.|
|Edition:||Second (final) state; from the edition of 200.|
|Condition:||This work is in excellent condition.|
Depicting a touching moment between mother and child, Maternité, Grande Planche exudes a sense of love and dedication. Renoir here addresses one of his favorite subjects, motherhood, as the relationship between mother and child is full of optimism, tenderness, and discovery.
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|Depicting a touching moment between mother and child, Renoir creates a scene
filled with a sense of love and dedication. The mother holds her child and gazes
down at him in adoration. The child appears safe and content in his mother's
arms, as if shielded from the cruelties of the outside world. Renoir utilizes
soft swirling strokes and subtle tonal gradations to depict this mother and
child. The two figures remain distinct from the background, yet the outlines
of their figures appear to seamlessly merge with the strokes of the background,
creating an overall cohesive work.
Created circa 1912, this work is from the second and final state, from the edition of 200. The piece is signed 'Renoir' in the stone in the lower right of the composition.
Catalogue Raisonné & COA:
1. Delteil, Loys, L'Oeuvre Gravé et Lithographié, 1999, listed on pages 106-107 as no. 50.
2. Stella, Joseph G., The Graphic Work of Renoir, 1962, listed as plate 50.
3. A Certificate of Authenticity will accompany this work.
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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 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.