Renoir Art: 20th Century Art

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Pierre-Auguste Renoir | Jeune fille au chapeau, 1895

Portraits of children were amongst Renoir's favourite themes and feature strongly in the artist's painting of the 1890s.

Over the previous decade Renoir had been commissioned to paint the children of a number of celebrated patrons, including the Lerolles and the Berards.

These commissions gave the artist a renewed interest in portraiture in the 1890s and Renoir painted a number of non-commissioned portraits in addition to more formal requests.

Pierre-Auguste Renoir painted this florid allegorical canvas, La fête de Pan, in the summer of 1879.

Commissioned to adorn the drawing room of the Bérard family’s country home, the Château de Wargemont, La fête de Pan depicts a spring festival devoted to the ancient Greek god, Pan - a rare example of a mythological subject in Renoir’s oeuvre.

This jubilant painting combines the artist’s careful observations of nature en plein air with his imaginative fantasies of beauty, both feminine and floral.

"If you paint the leaf on a tree without using a model, your imagination will only supply you with a few leaves; but Nature offers you millions, all on the same tree. No two leaves are exactly the same. The artist who paints only what is in his mind must very soon repeat himself".

"Se dipingi una foglia su un albero senza usare un modello, la tua immaginazione potrà' fornirti solo alcuni tipi di foglie; ma la natura ti offre milioni di foglie, tutte sullo stesso albero. Non ci sono due foglie esattamente uguali. L'artista che dipinge solo ciò che nella sua mente molto presto ripeterà se stesso".

Pierre-Auguste Renoir🎨

Renoir | Still Life with roses

Pierre-Auguste Renoir | Les Grands Boulevards, 1875

Philadelphia Museum of Art | Perhaps Renoir's most famous view of Paris is this archetypal image of its newest and most fashionable district in the 1870s.

The Grands Boulevards is full of the pigment daubs and bright colors that are characteristic of Impressionism.

The modern life in the city is transmitted through visible strokes of paint, which operate as immediate sensory cues that allow the viewer to perceive this world as though it is passing by. This is the magic of Renoir's Paris.

The world of the painting is truly historical -the modern city emerging- even though his translation of this place is a subjective and fleeting impression.

Renoir | La Promenade, 1875-1876

A young woman shepherds a pair of identically dressed little sisters along the path of a well-maintained public park. All three figures are outfitted for the cold and in the height of fashion. The eldest wears a blue velvet jacket with wide sleeves trimmed with red fox; the little girls wear miniature blue-green jackets trimmed with either swansdown or white mink.
Further up the pathway to the right, Renoir ⎆ has included no fewer than eleven additional figures and two playful dogs.

Renoir | Woman in an Armchair, 1874

Renoir | Figures on the Beach, 1890

Probably painted in 1890 on the Cote d’Azur in southern France, this sun-filled painting shows two female figures at the beach.

The seated figure is shown in profile, her right hand holding a parasol on the sand. She exchanges a look with the standing figure to her right who holds a basket at her side.

The women are joined by a small white dog, and before the water stands a young boy dressed in blue, seemingly throwing an object into the ocean.

Renoir | La Grenouillère, 1869

La Grenouillère, the frog pond was a popular venue for outings from Paris and for bathing in the summer, situated outside Bougival to the west of the capital. The sun is filtered through the green leaves and it sparkles on the surface of the river Seine. People are bathing. Some are in boats, rowing or sailing on the river. A group of men in suits and women wearing crinolines have sought shade beneath a tree on the little artificial island known as Camembert or the flowerpot.