Pierre-Auguste Renoir, Etude de femme nue, assise (Study of Seated Female Nude), c. 1904
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Email to FriendSigned Pierre-Auguste Renoir, Lithograph, Etude de femme nue, assise (Study of Seated Female Nude), c. 1904  |
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| Artist: | Renoir, Pierre-Auguste (1841 - 1919) |
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| Title: | Etude de femme nue, assise (Study of Seated Female Nude), c. 1904 |
| Medium: | Original Lithograph |
| Image Size: | 7 1/2 in x 6 7/16 in (19 cm x 16.3 cm) |
| Sheet Size: | 13 1/8 in x 9 3/4 in (33.3 cm x 24.8 cm) |
| Framed Size: | approx. 29 1/2 in x 25 3/4 in (74.9 cm x 65.4 cm) |
| Signed: | Signed in the stone 'Renoir' in the lower right. |
| Edition: | From the edition of 950 (total edition of 1000, 1-50 n Japan, 51-1000 on vellum); this work is from the second state. |
| Condition: | This work is in excellent condition. |
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Item# 3624
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Returning to one of his favored subjects, Renoir portrays this classic nude in a quiet seated pose. The work is prized for its transluecent watercolor texture and soft imagery. |
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| Historical Description: | |
| The nude subject of this piece sits calmly at the center of the composition,
her hands gently resting upon her knees. She appears as though at ease despite
her vulnerable state and tilts her head turned slightly towards the viewer,
as though acknowledging the somewhat voyeuristic quality of this work. Renoir
conveys her in his Impressionistic style, as she appears to softly blend with
the background. Renoir here creates an intimate piece in which the viewer witnesses
a beautiful woman, caught in a moment of quiet solitude.
This original lithograph is signed in the stone 'Renoir' in the lower right. This piece is from the edition of 950(total edition of 1000, 1-50 on Japan, 51-1000 on vellum); from the second state with the signature. Catalogue Raisonné & COA: 1. Delteil, Loys, L'Oeuvre Gravé et Lithographié, 1999, listed as no. 42. 2. Stella, Joseph G., The Graphic Work of Renoir, 1962, listed as plate 42. 3. Roger-Marx, Claude. Les Lithographies de Renoir, Monte-Carlo. Listed and illustrated as cat. no. 17 on pgs. 58-9. 4. A Certificate of Authenticity will accompany this work. About the Framing: | |
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Biography of Pierre-Auguste Renoir
Pierre-Auguste Renoir (1841 - 1919)
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.
