Published by Hatje Cantz. Text by Augustin de Butler, Peter Kropmanns, Marc Le Coeur, Stefanie Manthey, Sylvie Patry, David Pullins, Nina Zimmer, Michael F. Zimmermann.
Alongside Monet, Bazille and Sisley, Pierre-Auguste Renoir laid the foundations of Impressionism in 1860s Paris. But acclaim for his painting was slow in coming, primarily because of the tribulations of the Franco-Prussian War and the Paris Commune, which put a hiatus on so much artistic activity during the 1860s–70s. As a result, the first two decades of Renoir’s career are sometimes ignored, an oversight this superb volume decisively remedies. The artist’s most important model during these years was his mistress, Lise Tréhot, with whom he was involved from 1865 to 1872. His depictions of Tréhot, in classic paintings such as “Woman in a Garden” and “En été” (both 1868), underscore the importance of Manet for the Impressionists in general, but also show Renoir infusing the older artist’s somber palette with the warm, burnished glow for which he is beloved today, and exploring the looser handling of the brush so closely associated with the Impressionist movement. This volume also looks at Renoir’s plein air landscape paintings and other portraits, such as those of his fellow Impressionists Frédéric Bazille and Claude Monet, altogether reproducing 250 works in full color. Revelatory and comprehensive, Between Bohemia and Bourgeoisie is the first extensive examination of the painter’s early oeuvre and the importance of his close friendships with Bazille, Manet, Monet and Sisley.
Published by Hatje Cantz. Text by Roger Benjamin, Claudia Einecke.
Here at last is a publication devoted to the glorious final three decades of Pierre-Auguste Renoir—the decades in which the painter turned away from Impressionism and toward a more decorative approach informed by his own idiosyncratic interpretation of art history. During this period, Renoir was initially looking at painters such as Rubens, Titian and Raphael, and dedicating himself to cheery subjects such as bathers, domestic idylls and landscapes that were influenced by both classical mythology and by his relocation to the South of France. The thinly brushed color and blurry outlines in later works such as the “Odalisques” and the “Bathers” of 1918–1919 (a picture that Renoir described as “a springboard for future research”), were much admired by an up-and-coming generation of avant-garde artists, who gravitated to their sensuality and to the fleshy richness of his nudes—qualities which have made his art so hugely popular and so widely reproduced. In the wealth of color illustrations in this book—which accompanies a major touring exhibition organized by the Réunion des Musées Nationaux, the Musée d'Orsay and the Los Angeles County Museum of Art in collaboration with the Philadelphia Museum of Art—it is possible to see clearly the influence that Renoir had on younger artists such as Bonnard, Matisse and Picasso, as well as how they received and studied his work.Along with Monet and Sisley, Pierre-Auguste Renoir (1841–1919) was a founder of the style that became known as Impressionism, and one of its most prolific members. Surviving most of his contemporaries, he lived to see his paintings hung at the Louvre alongside the old masters he so revered.