Pierre-Auguste Renoir, Le chapeau épinglé (The Hat Secured with a Pin), c. 1894
|Artist:||Renoir, Pierre-Auguste (1841 - 1919)|
|Title:||Le chapeau épinglé (The Hat Secured with a Pin), c. 1894|
|Image Size:||4 1/2 in x 3 1/4 in (11.4 cm x 8.25 cm)|
|Sheet Size:||7 1/8 in x 5 in (18.1 cm x 12.7 cm)|
|Framed Size:||22 1/8 in x 20 3/4 in (56.2 cm x 52.7 cm)|
|Signed:||Signed in the plate by Pierre-Auguste Renoir (1841 - 1919) in the lower left.|
|Edition:||A 2nd state impression of the Third Version of the plate, published in La Vie Artistique by Gustave Geffroy (Dentu: Paris, 1894).|
|Condition:||This work is in very good condition with a strong, visible plate mark.|
|Gallery Price: |
|SOLD, but we have similar works in our Renoir collection!|
|Historical Description of This Work:|
Depicting a serene view of two young women posing for their portrait, this extremely delicate work expresses the beauty and elegance of Renoir's portraiture. Noted by Stella, "As the subtitle explains, Berthe Morisot's daughter, Julie Manet, and her cousin are the models for this subject." The two figures are delicately composed with detail of the hatched lines throughout the work. Seated in elegant dresses and wearing large hats with ribbons on them, the face of only one figure is visible while the other is obscured with her back to the viewer. Looking away from us in contemplation while having her hat adjusted, the left figure appears to sit back in space through the use of lighter values. With her back to us, the right figure appears as though she is closer, with more line work and stronger values throughout her hair and hat. Wonderfully executed, this work is a strong example of the impressionist reflection on life as that of light and beauty.
Created c. 1894 by Pierre-Auguste Renoir (1841-1919), this work is created after the troisième planche, or Third Version of the plate (the prior two feature the girls facing in the opposite direction with much less detail). Hand signed in the plate by Pierre-Auguste Renoir (1841 - 1919) in the lower left of the image, this print is created after the second state of two. Featured in the 1894 publication of La Vie Artistique by Gustave Geffroy and also in the 1921 work, Renoir et ses Amis by Georges Rivière.
DOCUMENTED AND ILLUSTRATED IN:
1) Delteil, L. (1999). Pierre-Auguste Renoir, L'uvre Gravé et
Lithographié, San Francisco: Alan Wofsy Fine Arts. Listed and illustrated
as catalogue raisonné no. 8 on pg. 17 (2nd state, Third Version). Detailed
on pg. 16.
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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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