Pierre-Auguste Renoir, 1892 - Bois de la Chaise (Noirmoutier) - 파인 아트 프린트

Interesting facts about this painting painted by the modern artist with the name 피에르 오귀스트 르느와르

이 작품은 남성 예술가 피에르 오귀스트 르느와르 in 1892. 그만큼 120 아트웍의 XNUMX년 된 버전은 크기를 측정합니다. 전체: 25 13/16 x 31 7/8인치(65,5 x 81cm). 캔버스에 오일 was applied by the painter as the medium of the work of art. Moveover, the artwork can be viewed in in the collection of 반스 재단. 의 호의로 Barnes Foundation, Merion 및 Philadelphia, Pennsylvania 제공 (라이선스 - 퍼블릭 도메인).: . 디지털 재생의 정렬은 가로 방향이며 비율은 다음과 같습니다. 1.2 : 1, which implies that the length is 20% longer than the width. The illustrator, painter, sculptor Pierre-Auguste Renoir was a European artist from France, whose style can be attributed primarily to Impressionism. The French painter was born in the year 1841 in Limoges, Nouvelle-Aquitaine, France and passed away at the age of 78 1919년 프랑스 프로방스알프코트다쥐르의 카뉴쉬르메르에서

박물관의 일반적인 설명 (© 저작권 - Barnes Foundation - www.barnesfoundation.org)

Renoir visited Noirmoutier, an island off the west coast of France to the south of Saint-Nazaire and the estuary of the river Loire, in September 1892, during an extended period touring in northwestern France. The area around the town of Noirmoutier, on the northeast comer of the island, was a select tourist destination, and especially the Bois de la Chaise, to the north of the town, which forms the subject of Renoir's canvas. The Bois was renowned for its picturesque vistas of the sea seen through the pines, and was the site of villas and chalets for the visitors, favored more, a guidebook tells us, by aristocratic than fashionable society. Renoir stayed in the island's principal hotel, the Hotel du Lion d'Or in Noirmoutier, which had an annex and a restaurant in the Bois de la Chaise. Shortly after his visit to the island, he wrote to Berthe Morisot, "I have been to Noirmoutier; it is superb and completely southern, much superior to Jersey and Guernsey, but too far away, much too far away." To Paul Gallimard, he simply commented, "Noirmoutier's a marvel."Among the significant outdoor scenes painted by Renoir between 1888 and 1893 in the Barnes Foundation, Bois de la Chaise, Noirmoutier is closest in mood and treatment to Peninsula of Saint-Jean (BF240). Tall trees frame the view, and the eye is led through smaller trees and bushes to the open sea beyond. Two fashionably dressed women sit beneath one of the background trees, and the sea is punctuated by the white sails of recreational sailing boats. This is emphatically a landscape of recreation and leisure, without the hint of agricultural labor that appears in Peninsula of Saint-Jean. As in Peninsula of Saint-Jean, the treatment of the scene is reminiscent of the later work of Jean-Baptiste-Camille Corot, especially the supple cursive branches of the foreground trees that act as a repoussoir, and the soft dappled light. Yet Bois de la Chaise, Noirmoutier is far more highly colored than Corot's later paintings; Renoir's impressionist past is evident in the play of varied colored nuances throughout the canvas. The blues in the shadows and the sea are set off against the deep reds in the tree trunks and the warm accents on the seated figure and the sunlit ground; the greens in the foliage are also constantly variegated. However, in comparison with Peninsula of Saint-Jean, there is a greater degree of schematization and simplification in the treatment of natural forms in Bois de la Chaise, Noirmoutier. The tree branches become elegant decorative patterns, and the patches of light and shade suggest sunlight falling through foliage, but wholly without closely observed detail. In his letter to Morisot, Renoir commented on the difficulty of painting landscape: "Landscape is of one's metier, but I no longer can plant myself out of doors like a street entertainer." He added, in his comments about Noirmoutier, "If I was braver, there would be some very pretty things to paint there, as there are everywhere."In light of these comments, it seems very likely that Bois de la Chaise, Noirmoutier and another very similarly treated canvas of the Bois de la Chaise were painted in the studio, perhaps after his return to Paris. This conclusion is confirmed by the striking difference between these two canvases and a third view of Noirmoutier (Museum Oskar Reinhart, Winterthur, Switzerland); this shows a similar view through trees to the sea, with a small figure, but the trees are far more specific in their forms and the whole canvas is more rapidly and informally executed. It seems very likely that this was wholly or largely executed on the spot, and that it, and perhaps other such canvases, formed the basis for the Bames's Bois de la Chaise, Noirmoutier; the reconfiguration of the scene, back in the studio, transforms it from a picture of a specific site into a more generic idyll of outdoor leisure.

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