Renoir Paintings Gallery

Strawberries

admin — Mon, 20 Oct 2008 08:21:38 +0000

Stripping away all but essentials, he took no thought now for carefully arranged bouquets and still lifes, preferring fruit, flowers or fish against the simple backdrop of a white tablecloth. He painted them as he painted his figures and landscapes, in terms of volumes fashioned round kernels of light and overlaid with accents of color. The best and richest of Renoir’s last years is concentrated in the roses, peaches and berries that cluster along the edge of some of his canvases, though many times, too, he painted them separately, taking deep delight in doing so.

Young Women Talking (Confidences)

admin — Fri, 17 Oct 2008 09:10:07 +0000

Girl Reading

admin — Fri, 17 Oct 2008 09:01:59 +0000

Sleeping Girl

admin — Fri, 17 Oct 2008 08:56:27 +0000

After The Luncheon

admin — Fri, 17 Oct 2008 08:52:12 +0000

Dance In the Country

admin — Mon, 13 Oct 2008 07:56:49 +0000

Portrait of Coco

admin — Sun, 12 Oct 2008 05:04:13 +0000

As sensitive to children’s charm as to women’s, Renoir found an ideal model in his own home, towards the end of his life, in his third and youngest son Coco (Claude). Dabbed in with long, flickering brushstrokes on a very light scumble, this small portrait, so vibrant and alive, has all the delicate transparency of fine enamelware. Nowhere better than in pictures of his and intimates do we see the radiant grace and freedom, the freshness and warm luster of Renoir’s mature style. Here, on the same canvas, having finished one head, he playfully went on to paint a second one behind it.

Portrait of Claude Monet

admin — Sun, 12 Oct 2008 04:59:24 +0000

Lise With Umbrella

admin — Sat, 11 Oct 2008 20:26:38 +0000

Throughout his life, Renoir used several female models, but the two he paintedmost often were Lise Trehot and his wife, Aline Charigot.
The portraits of Lise were done early in his career and clearly show Renoir’s artistic development. The pictures featuring his wife show the fully developedartist, a master of his craft.

Garden at Les Collettes

admin — Sat, 11 Oct 2008 17:11:37 +0000

Here the treetrunk in the middle, standing out sharply against the shrill white wall of the house, introduces a strange note in the picture, every other part of which is obviously built up strictly in terms of the masses. In fact the trees and shrubs on the righthand side have largely been left in the rough, with no effort made to bring out highlights and accents. Such is not the case in other landscapes painted at Cagnes, in which accents take on a vigor and intensity that may vary here and there, but which never openly clash or disturb the over-all harmony of the composition.