Pierre-Auguste Renoir, Le Fleuve Scamandre, 1re Planche (The Scamandre River, 1st Version)
Signed Pierre-Auguste Renoir etching, Le Fleuve Scamandre, 1re Planche (The Scamandre River, 1st Version)
|Artist:||Pierre-Auguste Renoir (1841 - 1919)|
|Title:||Le Fleuve Scamandre, 1re Planche (The Scamandre River, 1st Version)|
|Image Size:||8 1/2 in x 6 7/8 in (21.6 cm x 17.5 cm)|
|Framed Size:||23 3/4 in x 21 7/8 in (60.3 cm x 55.6 cm)|
|Signature:||This work is stamp signed Renoir in the lower right.|
|Condition:||This work is in good condition.|
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Item # 2957
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Historical Description of this artwork
One of Renoir’s most famous works, this piece expresses the artist’s skillful use of delicate lines and sense of form. Using darkly hatched contour strokes, this gestural work explores the figure in motion. From the first of two versions of this subject matter, the conflict between the two figures is illustrated through opposing gestures. The figure to the left appears surprised with arms thrown back, as the figure on the right lunges toward her with arms outstretched. The faintly visible trace of a tree in the upper right and a river below the figures alludes to the sense that the setting is in nature. Appearing as though emerging out of the river, the right figure is in a crouching position at a profile to the viewer. With her feet touching the edge of the river, the figure on the left retreats back in astonishment. The delicate features of both figures are beautifully executed, with a minimal use of line this work is a wonderful example of the artist’s technical skill.
Created c. 1900-1910, this work is printed on a wove paper and is stamp signed in the lower right. Published by Ambroise Vollard, this work is from the second and last state of the first version, the plate was cancelled after printing. There are only 35-50 proofs from the first state as reference in Stella and it is believed that the second state had a similar amount of proofs.
Documented and Illustrated in:
1) Stella, Joseph, The Graphic Work of Renoir, listed as plate 24.
2) Delteil, Loys, Renoir L’Oeuvre Gravé et Lithographié, 1999, listed as plate 24
on pages 48 and 49.
3) Johnson, Una, Ambroise Vollard, Editeur, 1977, details listed as cat no 112 on
About the Framing:
Conservation framed with archival materials and museum quality, this work is set in an ornate stepped gold leaf frame. The brushed quality of the frame compliments the lightness of this work, while the gold accentuates the contrast in this print. The swirling and circular forms of the moulding enhance the fluidity of this work. Completed with white linen wrapped mattes and a 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.