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PIERRE-AUGUSTE RENOIR (1841-1919)

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<div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div> <div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div> <div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div> <div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div> <div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div> <div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div> <div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div> <div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div> <div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div> <div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div>
Fillette a l'orange191125 3/4 x 21 3/8 po.(65.41 x 54.29 cm) huile sur toile
Provenance
Galerie Bernheim-Jeune, Paris (n° 19649), vers 1913
Vente : Shinwa Art Auction Co, Tokyo, 10 juillet 2004, lot 150
Collection privée, acquise lors de la vente ci-dessus
Vente : Christie's Londres, vente du soir impressionniste/moderne, 9 février 2011, lot 44
Collection privée, acquise lors de la vente ci-dessus
Exposition
Paris, Galerie Bernheim-Jeune, Renoir, mars 1913
Paris, Galerie Bernheim-Jeune, Renoir, février-mars 1927, n° 2
Tokyo, Metropolitan Art Museum, Chefs-d'œuvre de l'Occident, mars 1947, probablement no. 109
Littérature
Bernh...Plus.....eim-Jeune, éd. Renoir, Paris 1913, p. 64
Gustave Coquiot, Renoir, Paris, 1925, p. 233
Guy-Patrice Dauberville & Michel Dauberville, Renoir : Catalogue Raisonné Des Tableaux, Pastels, Dessins et Aquarelles, Paris, 2014, no. 4249 (illustré pg. 361)
...MOINS.....
Précédent
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"L'art, c'est l'émotion ; si l'art a besoin d'être expliqué, ce n'est plus de l'art." - Pierre-Auguste Renoir

Histoire

Dès les débuts de la peinture au XIXe siècle, précipités par l'avènement de l'impressionnisme, Renoir s'est forgé une réputation de meilleur portraitiste parmi les paysagistes émergents. Des œuvres telles que Lise à l'ombrelle (1867) démontrent sa capacité à capturer l'essence de ses sujets avec un flair particulier, ce qui le distingue de ses pairs. Inspiré par un voyage transformateur en Italie en 1882, Renoir change d'approche, mettant l'accent sur le modelé et les contours avec une manipulation douce et mélangée, intégrant une nouvelle rigueur et une clarté rappelant les anciens maîtres. Souvent qualifié de "période Ingres", Renoir conserve la réputation du peintre le plus apte à gérer le processus traditionnel d'enregistrement de la ressemblance d'un modèle avec le flair distinctif et l'éclat d'un impressionniste.

En 1890, le style de Renoir évolue à nouveau. Il dilue ses pigments pour obtenir une translucidité semblable à celle d'un bijou, conférant à ses œuvres une qualité tendre et éthérée. Cette dernière phase reflète les limites physiques de l'arthrite rhumatoïde, mais aussi une approche plus profonde et plus réfléchie de ses sujets, capturant leur lumière intérieure et leur caractère avec des touches subtiles et lumineuses.

N'étant plus obligé de répondre aux commandes de portraits de la société, Renoir se concentre dès 1900 sur les portraits et les études de sa famille, de ses amis proches et de ses voisins. Fillette à l'orange, peint en 1911, élargit notre appréciation de son style très personnel et intime et de sa réputation d'imprégner ses portraits d'enfants de tout le charme affectueux qu'il pouvait rassembler. Il évite l'approche plus douce et généralisée qui a incité son fils Jean à dire que "nous sommes tous les enfants de Renoir, des versions idéalisées de la beauté et de la sensualité exprimées de manière universelle plutôt qu'avec des spécificités physionomiques". Nous ne connaîtrons peut-être jamais son identité, mais sa ressemblance est frappante parce que Renoir se concentre sur son visage et son expression. Néanmoins, le jeu de la lumière et de la couleur met en valeur ses traits et donne vie à la nature tendre et affectueuse caractéristique des derniers portraits de Renoir. L'orange en tant qu'accessoire est souvent incluse dans les portraits comme symbole de fertilité. Pourtant, ici, elle semble servir d'élément formel permettant à l'artiste de démontrer son habileté à mettre en valeur sa taille, sa forme et son poids dans la main de cette jeune fille.

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  • Renoir-image-1
    Détail de Anon, Portrait de Renoir Musée Marmottan, Paris © akg-images
  • Renoir-image-2
    Pierre-Auguste Renoir (vers 1910)
  • Renoir-image-3
    Pierre-Auguste Renoir (vers 1910)
"Pour moi, un tableau doit être quelque chose d'agréable, de gai et de joli, oui joli ! Il y a trop de choses désagréables dans la vie telle qu'elle est sans en créer encore plus." - Pierre-Auguste Renoir

APERÇU DU MARCHÉ ET DÉTAILS CLÉS

  • Renoir AMR 76-24
    Étude du marché de l'art - Graphique du marché de Renoir Janvier 1976 - Juin 2024

  • Selon Art Market Research, basé à Londres, les prix du marché de Renoir ont augmenté à un taux de croissance annuel composé de 5,5 % depuis 1976.

  • Les peintures des dernières années de Renoir, y compris celles représentant des enfants, sont relativement rares par rapport à ses premières œuvres. Cette rareté ajoute à leur attrait et peut contribuer à augmenter les prix de vente aux enchères lorsqu'elles sont mises sur le marché.

  • Les tableaux de Renoir, en particulier ses portraits d'enfants, sont connus pour leur chaleur, leur humanité et leur attrait intemporel. De la fin des années 1870 aux années 1880, Renoir a fait évoluer son approche de la peinture d'enfants, dépassant l'impressionnisme pour incorporer des formes structurées et une palette plus riche.

  • Dans les dernières années de sa vie, en particulier à partir des années 1890, les portraits d'enfants de Renoir reflètent un style classique et raffiné influencé par les maîtres anciens, visant à une qualité intemporelle.

  • En utilisant des couleurs vibrantes et des effets de lumière nuancés, Renoir met en valeur la chaleur et la vitalité de ses enfants, comme le montre Fillette à l'orange. Renoir aborde ses portraits d'enfants avec sensibilité, capturant la personnalité et le caractère uniques de chaque sujet, alliant la maîtrise technique à la profondeur émotionnelle.

Les meilleurs résultats des ventes aux enchères

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"Berthe Morisot et sa fille, Julie Manet (1894), huile sur toile, 32 x 25 3/4 in. Vendue chez Christie's New York : mai 2022 pour 24 435 000 $.
"Berthe Morisot et sa fille, Julie Manet (1894), huile sur toile, 32 x 25 3/4 in. Vendue chez Christie's New York : mai 2022 pour 24 435 000 $.
"Dans les roses" (1882), huile sur toile, 39 1/4 x 32 in. Vendue chez Sotheby's New York : mai 2003 pour 23 528 000 $.
"Dans les roses" (1882), huile sur toile, 39 1/4 x 32 in. Vendue chez Sotheby's New York : mai 2003 pour 23 528 000 $.
"Baigneuse" (1888), huile sur toile, 25 1/2 x 21 1/2 in. Vendue chez Sotheby's New York : novembre 1997 pour 20 902 500 $.
"Baigneuse" (1888), huile sur toile, 25 1/2 x 21 1/2 in. Vendue chez Sotheby's New York : novembre 1997 pour 20 902 500 $.

Peintures comparables vendues aux enchères

"Jeune femme en costume oriental devant une table à thé (1909-1910), huile sur toile, 31 7/8 x 25 7/8 in. Vendue chez Christie's Londres : mars 2022 pour 5 649 221 $.
"Jeune femme en costume oriental devant une table à thé (1909-1910), huile sur toile, 31 7/8 x 25 7/8 in. Vendue chez Christie's Londres : mars 2022 pour 5 649 221 $.
"La couseuse" (1875), huile sur toile, 25 5/8 x 21 3/8 in. Vendue chez Sotheby's Hong Kong : octobre 2021 pour 4 063 740 $.
"La couseuse" (1875), huile sur toile, 25 5/8 x 21 3/8 in. Vendue chez Sotheby's Hong Kong : octobre 2021 pour 4 063 740 $.
"Madame Henriot (1874), huile sur toile, 16 x 13 in. Vendue chez Christie's New York : novembre 2021 pour 3 390 000 $.
"Madame Henriot (1874), huile sur toile, 16 x 13 in. Vendue chez Christie's New York : novembre 2021 pour 3 390 000 $.
"Jeune fille se peignant" (1896), huile sur toile, 22 1/2 x 18 1/2 in. Vendue chez Sotheby's Hong Kong : Mars 2019 pour 2 621 186 $.
"Jeune fille se peignant" (1896), huile sur toile, 22 1/2 x 18 1/2 in. Vendue chez Sotheby's Hong Kong : Mars 2019 pour 2 621 186 $.

Fonds muséaux comparables

"Jeune femme au balcon, Cagnes (vers 1911), huile sur toile, 17 x 20 1/2 in, Fondation Barnes, Philadelphie, Pennsylvanie
"Jeune femme au balcon, Cagnes (vers 1911), huile sur toile, 17 x 20 1/2 in, Fondation Barnes, Philadelphie, Pennsylvanie
"Coco, Portrait de Claude Renoir" (1908), huile sur toile, 11 3/8 x 9 in, Musée cantonal des Beaux-Arts, de Lausanne, Suisse
"Coco, Portrait de Claude Renoir" (1908), huile sur toile, 11 3/8 x 9 in, Musée cantonal des Beaux-Arts, de Lausanne, Suisse
"Coco" (1910), huile sur toile, 21 5/8 x 18 1/4 in, Museum of Fine Arts, Boston, Massachusetts
"Coco" (1910), huile sur toile, 21 5/8 x 18 1/4 in, Museum of Fine Arts, Boston, Massachusetts
"Enfant lisant (début des années 1890), huile sur toile, 12 13/16 x 16 1/4 po, Fondation Barnes, Philadelphie, Pennsylvanie
"Enfant lisant (début des années 1890), huile sur toile, 12 13/16 x 16 1/4 po, Fondation Barnes, Philadelphie, Pennsylvanie
"Un matin, l'un de nous est sorti du noir, c'était la naissance de l'impressionnisme. - Pierre-Auguste Renoir

Authentification

Le Catalogue Raisonné de Guy-Patrice et Michel Dauberville, qui fait autorité en matière d'authenticité des peintures de Renoir, mentionne Fillette à l'orange aux pages 361 et 362. 

DOWNLOAD CATLOGUE RAISONNÉ
Renoir Fillette a l'orange cat rais

demander

Demande de renseignements - Art Single

Galerie d'images

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