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Pierre-Auguste Renoir, Femme Nue Couchée (Tournée à Droite), 1906
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Pierre-Auguste Renoir, Grabado, Femme Nue Couchée (Tournée à Droite), 1906  |
Coloque su cursor sobre las miniaturas debajo de ver la imagen de tamaño natural:
| Artista: | Renoir, Pierre-Auguste (1841 - 1919) |
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| Título: | Femme Nue Couchée (Tournée à Droite), 1906 |
| Medio: | Grabado |
| Dimensiones del Ilustración: | 7.5 in x 5.15 in (19.05 x 13.08 cm) |
| Dimensiones del Papel: | approx 11 in x 9 in (27.94 cm x 22.86 cm) |
| Dimensiones del Marco: | 22 in x 25 in (56 x 63.5 cm) |
| Edición: | From a later impression printed on a fine, laid paper with deckle edges on all sides |
| Condición: | This work is in perfect condition, with signs of burr and a strong plate mark |
Precio Artículo# 1963 | $8,500
Para hablar directamente con el Director, Alex Adelman, por favor llamada (510) 777-9970/1-800-805-7060. |
| Descripción Histórica: | |
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This extremely strong impression offers the viewer a delicate image which captures a sense of innocence and repose. Created in 1906, this etching was first printed in the deluxe edition of Théodore Duret’s volume “L’Histoire des Peintres-Impressionistes” published in the same year by Floury, Paris. The etching was again published in Théodore Duret’s 1909 book entitled, Die Impressionisten. In 1923 the image was used in Henri De Régnier’s, Renior, Peintre du nu, published by Bernheim-Jeune, Paris. In addition this etching can be related to many oils that the artist executed during the same year. With his delicate use of line, Renoir conveys a sense of grace and femininity. The model’s closed eyes and relaxed features convey a sense of calm and tranquility which is further echoed in the plush pillows and bed. "The culmination of his work is found in his many paintings of the female nude. Though undoubtedly influenced by Rubens and Boucher, for Renoir the nude did not so much provide an occasion to explore erotic nuance as to celebrate innocence. One of the most appealing aspects of his work is the absence of anxiety that is so apparent in his treatment of the nude."(Pierre-Auguste Renoir, by Michel Ferloni & Dominique Spiess) . Catalogue Raisonné & COA: 1. Pierre-Auguste Renoir, The Etchings and Lithographs, by Loys Delteil with a description on pages 28 and image on page 29, and is referenced as D. 14, presumably a later impression. 2. Dr. Joseph G. Stella: The graphic Work of Renoir, illustrated and listed as #14. About the Framing: | |
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Pierre-Auguste Renoir biografía
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 1970s 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.
