Pierre-Auguste Renoir, Jeune fille en buste et etudes de têtes (ou Gabrielle) [Three Sketches of Faces, Gabrielle]
Signed Pierre-Auguste Renoir, Lithograph, Jeune fille en buste et etudes de têtes (ou Gabrielle) [Three Sketches of Faces, Gabrielle]
|Artist:||Renoir, Pierre-Auguste (1841 - 1919)|
|Title:||Jeune fille en buste et etudes de têtes (ou Gabrielle) [Three Sketches of Faces, Gabrielle]|
|Image Size:||10 5/8 in x 8 1/4 in (27 cm x 21 cm)|
|Sheet Size:||17 1/8 in x 13 in (43.4 cm x 33 cm)|
|Framed Size:||29 3/4 in x 26 7/8 in (75.6 cm x 68.3 cm)|
|Signed:||Initialed 'R' in the lower right corner in the stone.|
|Edition:||From the edition of 100.|
|Condition:||This work is in very good condition|
This work is incredibly unique as Renoir depicts his long time maid Gabrielle in a rather dignified manner, choosing to focus solely on her face. Renoir was very consumed with his bourgeois lifestyle, and, therefore, any representation of his servants is a rare find. In this particular work, the three sketches appear quite intimate. This is seen through Renoir's use of shading while creating strong definitive lines that imply a sense of confidence from both the artist and that of his muse.
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According to Delteil, Gabrielle Renard (1878-1959), the subject of this piece, was Renoir's long time maid. In this exquisite work, Renoir depicts three sketches of his beloved maid, two smaller sketches on the bottom and one large central bust. He conveys his subject as dignified with dark, thick eyebrows and hair pulled back with curled tendrils hanging loosely down. Renoir focuses on the face of Gabrielle, shading with dark lines to add a sense of depth and detail to her face. He only lightly conveys her collared garment, which softly blends with the background whereas the three bold depictions of Gabrielle's face stand out to the viewer. Renoir positions Gabrielle at a slight angle, yet her piercing eyes stare directly at the viewer, relaying the impression that she is a strong, confident woman.
This original lithograph is initialed 'R' in the lower right corner in the stone. From the edition of 100. Stella notes that André Clot, son of Auguste Clot, has told A.G. Mazo that this lithograph consisting of three sketched heads of Gabrielle is an original by Renoir (catalogue no. 58).
Catalogue Raisonné & COA:
1. Delteil, Loys, L'Oeuvre Gravé et Lithographié, 1999, listed
on page 124-125 as plate 57.
2. Stella, Joseph G., The Graphic Work of Renoir, 1962, listed as plate 58.
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.