Pierre-Auguste Renoir, Le chapeau épinglé (The Hat Secured with a Pin), c. 1894
Signed Pierre-Auguste Renoir etching, Le chapeau épinglé (The Hat Secured with a Pin), c. 1894
|Artist:||Pierre-Auguste Renoir (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)|
|Signature:||Signed in the plate by Pierre-Auguste Renoir (1841 - 1919) in the lower left.|
|Condition:||This work is in very good condition with a strong, visible plate mark.|
Item # 3384
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Historical Description of this artwork
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’œuvre 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.
2) The Graphic Work of Renoir, by Joseph G. Stella, references as Stella 8.
3) A Certificate of Authenticity will accompany this work.
ABOUT THE FRAMING:
Set in an eloquent gold frame, the curved accents of the moulding complement the delicate lines and values in this work. The contrasting shadows created when light hits the sculptural, organic elements of the frame enhance the varying hues throughout the image. Completed with a white silk-wrapped mat and matching gold inner fillet, this work is set behind an archival Plexiglas® cover.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Auguste Renoir's characteristic brushstroke and artistry show through in his original etchings. His colorful lithographs, prints and paintings show Louis Valtat, the Dance in the Country, and women bathing. Renoir's romantic and light-hearted style, his nudes and flowers, will please any collector.
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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.
During the second half of the nineteenth century, France was experiencing a printmaking Renaissance. Despite this artistic trend, Impressionists were not quick to adopt the medium as they were accustomed to painting in plen air. However, Renoir was quick to learn the medium, creating his first etching in 1890 and his first lithograph two years later. During this time, Renoir was 49 and already an established painter. Yet, he executed a total of 59 prints in his lifetime, producing almost equal amounts of lithographs and etchings. Renoir’s etchings were never printed in suites or published in portfolios. Instead, he created them through commissions by friends and publishers as frontispieces or illustrations for books. Impressively, Renoir was able to develop his own style of etching independent of his development as a painter.
Renoir’s paintings are notable for their vibrant light and saturated colors. He primarily painted candid portraiture and the nude female figure. In each case, his paintings demonstrate free strokes of color through which figures fuse with each other and their surroundings. His best known for his painting Bal au moulin de la Galette ( Dance at Le Moulin de la Galette), 1876 which depicts an open-air scene in which crowds of people at a popular dance garden near where he lived. This iconic painting was sold for $78.1 million at an auction in 1990. In the mid to late 1880’s Renoir gravitated towards figure drawings. The monumental work from this period is Grandes Baigneuses (The Large Bathers), 1884-87. The figures of this painting have a sculptural quality whereas the landscape is representative of impressionism. It is clear Renoir intended to reconcile the modern style of painting with classical painting traditions from the 17th and 18th centuries.