Edited with text by Alexander Eiling, Juliane Betz, Fabienne Ruppen. Text by Michela Bassu, Guillaume Faroult, Marine Kisiel, Matthias Kruger, Mary Morton, Astrid Reuter.
How the lush moods and easy conviviality of the Rococo permeated Renoir’s sensual paintings
Clth, 9 x 11 in. / 328 pgs / 350 color. | 5/17/2022 | In stock $79.95
Published by Hatje Cantz. Edited with text by Alexander Eiling, Juliane Betz, Fabienne Ruppen. Text by Michela Bassu, Guillaume Faroult, Marine Kisiel, Matthias Kruger, Mary Morton, Astrid Reuter.
More than any other Impressionist, Pierre-Auguste Renoir defined the treatment of the human figure for his generation, while also portraying the emergent Parisian bourgeois way of life. In this volume, Renoir’s painting After the Luncheon, which depicts three bourgeois figures enjoying tea, liquor and cigarettes after a meal in a restaurant, serves as the jumping-off point for a far-reaching examination of an important source of inspiration for the painter throughout his life: the Rococo. Considered trivial after the French Revolution, this style of painting, developed over the course of the 18th century, was typified by frivolous gatherings of beautiful, upper-class subjects in pastoral settings and lascivious boudoir scenes. The Rococo style experienced a renaissance in the 19th century and was widely celebrated during Renoir’s lifetime. Published on the occasion of the Städel Museum’s major exhibition, this beautiful clothbound volume, containing over 300 color images, explores Renoir’s multifaceted connection to a once reviled tradition through illuminating juxtapositions of his art with the 18th-century works of such renowned masters as Antoine Watteau, François Boucher, Jean-Baptiste-Siméon Chardin, Jean-Honoré Fragonard and others. Pierre-Auguste Renoir (1841–1919) was a founder of the style that became known as Impressionism, and one of the movement's most prolific members. Described by Herbert Read as “the final representative of a tradition which runs directly from Rubens to Watteau,” Renoir was a connoisseur and champion of feminine beauty. Surviving most of his contemporaries, Renoir lived to see his paintings hung at the Louvre alongside the Old Masters he so revered.
Published by Museo Thyssen-Bornemisza. Text by Guillermo Solana, Colin B. Bailey, Flavie Durand-Ruel Mouraux.
The filmmaker Jean Renoir, son of Impressionist painter Pierre-Auguste Renoir, described how his father “looked at flowers, women and clouds in the sky as other men touch and caress.” Impressionism is generally conceived of as purely visual, an optical exploration of light-dappled surfaces and shifting colors. Renoir: Intimacy instead focuses on the central role of tactile sensations in Renoir’s canvases.
In all the different phases of his long career, working in a variety of genres (including group scenes, portraits, nudes, still lifes and landscapes), Renoir powerfully evoked the sense of touch. Renoir: Intimacy reveals the ways Renoir made use of the tactile qualities of volume, material and texture as a vehicle to depict intimacy in its different forms—from social intimacy among family and friends, to the erotic—and how that imagery is viscerally connected to the sensuality of the artist’s brushstroke and the physical surfaces of his paintings. Published to accompany an exhibition at the Museo Thyssen-Bornemisza in Madrid, this gorgeous volume includes more than 75 works by the artist, loaned from museums and private collections worldwide.
Pierre-Auguste Renoir (1841–1919) was a founder of the style that became known as Impressionism, and one of its most prolific members. Described by Herbert Read as “the final representative of a tradition which runs directly from Rubens to Watteau,” Renoir was a connoisseur and champion of feminine beauty. Surviving most of his contemporaries, Renoir lived to see his paintings hung at the Louvre alongside the old masters he so revered.
PUBLISHER Museo Thyssen-Bornemisza
BOOK FORMAT Hardcover, 10 x 11 in. / 200 pgs / 110 color / 35 bw.
PUBLISHING STATUS Pub Date 4/25/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2017 p. 16
PRODUCT DETAILS ISBN 9788415113881TRADE List Price: $65.00 CDN $87.00
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in stock $65.00
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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.
Renoir: Intimacy
Renoir: Between Bohemia and Bourgeoisie
Renoir in the 20th Century