Pierre-Auguste Renoir, Femme au cep de vigne, III Variante (Woman by the Grapevine, Third Variant), c. 1904
Signed Pierre-Auguste Renoir, Lithograph, Femme au cep de vigne, III Variante (Woman by the Grapevine, Third Variant), c. 1904
|Artist:||Renoir, Pierre-Auguste (1841 - 1919)|
|Title:||Femme au cep de vigne, III Variante (Woman by the Grapevine, Third Variant), c. 1904|
|Image Size:||6 1/2 in x 4 1/16 in (16.5 cm x 10.4 cm)|
|Sheet Size:||13 in x 9 1/4 in (33 cm x 23.5 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 left.|
|Edition:||From the edition of 950 on vellum paper (total edition of 50 on Japan, 950 on vellum); this work is from the second state.|
|Condition:||This work is in excellent condition.|
Highlighting two nudes, this marvelous print is noteworthy for the varied depictions that Renoir offers of a woman by a grapevine. Instilled with a sense of intrigue, we are left wondering if this work depicts two studies of the same woman or an image of two different models.
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With the addition of a second female nude into his Woman by the Grapevine works, Renoir creates a harmoniously balanced composition that highlights not one but two women, captured in a moment of either work or play. The figure in the foreground, reminiscent of the prior nudes from this series, gently bends at the waste to view a grapevine. She appears slightly more frontal than in previous depictions, as if she is almost stepping towards us, preparing to face us head on. The second figure to the upper right stands in profile and, rather than just examining the grapevine, appears to be actively picking grapes, reaching out with her arms to grab the luscious fruit. The perspective of this work is somewhat skewed, as the second nude almost appears to float in the air rather than rest on the ground next to the first nude, leaving us to wonder if Renoir meant to capture two women within the same image or two separate studies of the same model.
Created c. 1904, this work was published in a volume of 12 lithographs entitled L'Album des Douze Lithographies Originales de Pierre-Auguste Renoir. Printed by Auguste Clot, Paris and Published by Ambroise Vollard, this piece is signed in the stone 'Renoir' in the lower left. This piece is from the edition of 950 printed on vellum paper (total edition of 50 on Japan, 950 on vellum); from the second state.
Catalogue Raisonné & COA:
1. Delteil, Loys. L'Oeuvre Gravé et Lithographié. San Francisco: Alan Wofsy Fine Arts LLC, 1999. Listed as catalogue no. 47 on pg. 100-101.
2. Stella, Joseph G. The Graphic Work of Renoir. 1962. Listed as catalogue no. 47.
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.