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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>
橙色丝巾191125 3/4 x 21 3/8 英寸（65.41 x 54.29 厘米(65.41 x 54.29 厘米）布面油画
种源
Bernheim-Jeune 画廊，巴黎（编号 19649），1913 年前
拍卖：信和艺术拍卖公司，东京，2004 年 7 月 10 日，第 150 号拍品
私人收藏，购自上述拍卖
拍卖：伦敦佳士得，印象派/现代晚间拍卖会，2011 年 2 月 9 日，第 44 号拍品
私人收藏，购自上述拍卖
展会信息
巴黎，Bernheim-Jeune 画廊，雷诺阿，1913 年 3 月
巴黎，Bernheim-Jeune 画廊，雷诺阿，1927 年 2 月至 3 月，第 2 期
东京，大都会艺术博物馆，《西方杰作》，1947 年 3 月，可能是第 109 号。109
文学
伯恩...更。。。eim-Jeune 编著，《雷诺阿》，巴黎，1913 年，第 64 页。
Gustave Coquiot，《雷诺阿》，巴黎，1925 年，第 233 页
Guy-Patrice Dauberville & Michel Dauberville, Renoir ：巴黎，2014 年，编号：4249（插图页）。4249（插图第 361 页）
...少。。。
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"艺术是关于情感的；如果艺术需要解释，那它就不再是艺术了"。- 皮埃尔-奥古斯特-雷诺阿

历程

十九世纪印象派的出现推动了绘画的发展，雷诺阿从一开始就在新兴风景画家中树立了最优秀肖像画家的声誉。他的作品，如《撑伞的丽丝》（1867 年），展示了他以独特的天赋捕捉主题精髓的能力，使他从同侪中脱颖而出。1882 年，雷诺阿的意大利之行给了他很大的启发，他改变了创作方法，强调造型和轮廓，并采用平滑、融合的处理方式，融入了新发现的严谨和清晰，让人联想到老一辈艺术大师。雷诺阿通常被称为 "安格尔时期"，他一直保持着画家的声誉，最适合以印象派画家的独特天赋和活力来处理记录人物肖像的传统工艺。

到 1890 年，雷诺阿的画风再次演变。他将颜料稀释，以达到宝石般的半透明效果，为作品注入了温柔、空灵的特质。这一最后阶段反映了类风湿性关节炎对身体造成的限制，同时也反映了他对创作对象更深刻、更反思的态度，他用微妙、明亮的笔触捕捉他们的内在光芒和性格。

到 1900 年，雷诺阿不再依赖于社会肖像委托，他开始专注于为家人、好友和邻居创作肖像画和研究作品。1911 年创作的《Fillette à l'orange》让我们进一步领略到了雷诺阿非常个人化、亲切的风格，以及他在儿童肖像画中尽显亲切魅力的声誉。这幅画避免了他儿子让（Jean）所说的 "我们都是雷诺阿的孩子 "这种柔和、笼统的方法，"理想化的美丽和感性通过普遍而非具体的相貌表现出来。我们可能永远不会知道她的身份，但她的肖像却栩栩如生，因为雷诺阿专注于她的脸和表情。尽管如此，光线和色彩的交织突出了她的特征，并将雷诺阿后期肖像画所特有的温柔多情表现得淋漓尽致。橘子作为配饰，通常作为生育的象征出现在肖像画中。然而，在这幅画中，橘子似乎只是一种形式上的元素，艺术家通过展示橘子的大小、形状和在这位少女手中的重量来展现自己的技艺。

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  • 雷诺阿图片-1
    雷诺阿肖像》细节 巴黎马尔莫坦博物馆 © akg-images
  • 雷诺阿图片-2
    皮埃尔-奥古斯特-雷诺阿（约 1910 年）
  • 雷诺阿图片-3
    皮埃尔-奥古斯特-雷诺阿（约 1910 年）
"在我看来，一幅画应该是一些愉快、开朗、漂亮的东西，是的，漂亮!生活中有太多不愉快的事情，因为它是不创造更多的东西。"- 皮埃尔-奥古斯特-雷诺阿

市场洞察和关键细节

  • 雷诺阿 AMR 76-24
    艺术市场研究 - 雷诺阿市场图表 1976 年 1 月 - 2024 年 6 月

  • 根据伦敦艺术市场研究公司的数据，自 1976 年以来，雷诺阿作品的市场价格以 5.5% 的复合年增长率增长。

  • 雷诺阿晚年的画作，包括以儿童为主题的画作，与他早期的作品相比较为罕见。这种稀有性增加了它们的可取性，也有助于它们在市场上获得更高的拍卖价格。

  • 雷诺阿的人物画，尤其是他的儿童肖像画，以其温暖、人性和永恒的魅力而著称。从 19 世纪 70 年代末到 19 世纪 80 年代，雷诺阿不断改进儿童画的创作方法，超越了印象派，融入了结构化的形式和更丰富的色调。

  • 晚年，尤其是 19 世纪 90 年代以后，雷诺阿的儿童肖像画体现出一种受古代艺术大师影响的古典而精致的风格，追求一种永恒的品质。

  • 雷诺阿使用鲜艳的色彩和细微的光效，增强了儿童对象的温暖和活力，《Fillette à l'orange》就是一个很好的例子。雷诺阿在创作儿童肖像画时非常敏感，他捕捉每个被摄者的独特个性和性格，将精湛的技术与深厚的情感融为一体。

最佳拍卖结果

"Au Moulin de la Galette"（1876 年），布面油画，30 3/4 x 44 7/8 英寸。于纽约苏富比拍卖行售出：1990 年 5 月以 7.81 万美元售出
"Au Moulin de la Galette"（1876 年），布面油画，30 3/4 x 44 7/8 英寸。于纽约苏富比拍卖行售出：1990 年 5 月以 7.81 万美元售出
"贝尔特-莫里索与她的女儿朱莉-马奈"（1894 年），布面油画，32 x 25 3/4 英寸。 在纽约佳士得拍卖行售出：2022年5月以24,435,000美元售出
"贝尔特-莫里索与她的女儿朱莉-马奈"（1894 年），布面油画，32 x 25 3/4 英寸。 在纽约佳士得拍卖行售出：2022年5月以24,435,000美元售出
"Dans les roses"（1882 年），布面油画，39 1/4 x 32 英寸。 2003 年 5 月在纽约苏富比拍卖行以 23 528 000 美元售出：2003年5月以23,528,000美元售出
"Dans les roses"（1882 年），布面油画，39 1/4 x 32 英寸。 2003 年 5 月在纽约苏富比拍卖行以 23 528 000 美元售出：2003年5月以23,528,000美元售出
"Baigneuse"（1888 年），布面油画，25 1/2 x 21 1/2 英寸。 在纽约苏富比拍卖行售出：1997年11月以20,902,500美元售出
"Baigneuse"（1888 年），布面油画，25 1/2 x 21 1/2 英寸。 在纽约苏富比拍卖行售出：1997年11月以20,902,500美元售出

拍卖会上售出的同类画作

"身着东方服饰的年轻女性站在桌子前》（1909-1910 年），布面油画，31 7/8 x 25 7/8 英寸。于伦敦佳士得拍卖行售出：2022年3月以5,649,221美元售出
"身着东方服饰的年轻女性站在桌子前》（1909-1910 年），布面油画，31 7/8 x 25 7/8 英寸。于伦敦佳士得拍卖行售出：2022年3月以5,649,221美元售出
"La couseuse"（1875 年），布面油画，25 5/8 x 21 3/8 英寸。于香港苏富比拍卖行售出：2021年10月以4,063,740美元售出
"La couseuse"（1875 年），布面油画，25 5/8 x 21 3/8 英寸。于香港苏富比拍卖行售出：2021年10月以4,063,740美元售出
"亨利奥夫人"（1874 年），布面油画，16 x 13 英寸。 在纽约佳士得拍卖行售出：2021 年 11 月以 3,390,000 美元售出
"亨利奥夫人"（1874 年），布面油画，16 x 13 英寸。 在纽约佳士得拍卖行售出：2021 年 11 月以 3,390,000 美元售出
"Jeune fille se peignant"（1896年），布面油画，22 1/2 x 18 1/2 英寸，于香港苏富比拍卖行售出：2019年3月以2,621,186美元成交
"Jeune fille se peignant"（1896年），布面油画，22 1/2 x 18 1/2 英寸，于香港苏富比拍卖行售出：2019年3月以2,621,186美元成交

可比博物馆藏品

"卡涅阳台上的少女》（约 1911 年），布面油画，17 x 20 1/2 英寸，宾夕法尼亚州费城巴恩斯基金会
"卡涅阳台上的少女》（约 1911 年），布面油画，17 x 20 1/2 英寸，宾夕法尼亚州费城巴恩斯基金会
"可可，克劳德-雷诺阿肖像》（1908 年），布面油画，11.3/8 x 9 英寸，瑞士洛桑州立美术馆收藏
"可可，克劳德-雷诺阿肖像》（1908 年），布面油画，11.3/8 x 9 英寸，瑞士洛桑州立美术馆收藏
"可可"（1910 年），布面油画，21 5/8 x 18 1/4 英寸，波士顿美术馆，马萨诸塞州
"可可"（1910 年），布面油画，21 5/8 x 18 1/4 英寸，波士顿美术馆，马萨诸塞州
"Enfant lisant"（19世纪90年代早期），布面油画，12 13/16 x 16 1/4 英寸，宾夕法尼亚州费城巴恩斯基金会
"Enfant lisant"（19世纪90年代早期），布面油画，12 13/16 x 16 1/4 英寸，宾夕法尼亚州费城巴恩斯基金会
"一天早上，我们中的一个人跑出了黑夜" "这就是印象派的诞生"- 皮埃尔-奥古斯特-雷诺阿

认证

Guy-Patrice 和 Michel Dauberville 编著的《Raisonné目录》是鉴定雷诺阿画作真伪的权威，其中第 361 页和第 362 页详细介绍了《Fillette a l'orange 》。 

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雷诺阿 Fillette a l'orange cat rais

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  • Renoir-45755-Paris-apt
  • 45755_Renoir-Fillette-a-l'orange_1
  • 45755-Renoir-Fillette-a-l'orange
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  • 45755_Renoir-Fillette-a-l'orange_5
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