Auguste Renoir paintings. Posters, reproductions of paintings by famous artists in high resolution good quality, clipart and large photos for download

(Fr. Pierre-Auguste Renoir; February 25, 1841, Limoges - December 2, 1919, Cagnes-sur-Mer) - french painter, graphic artist and sculptor, one of the main representatives of impressionism. Renoir is known primarily as a master of a secular portrait, not devoid of sentimentality; he was the first of the Impressionists to succeed with wealthy Parisians. In the mid 1880s. actually broke with impressionism, returning to the linearity of classicism, to engrism. The father of the famous director.
Auguste Renoir was born on February 25, 1841 in Limoges, a city located in the south of Central France. Renoir was the sixth child of a poor tailor named Léonard and his wife, Marguerite.
In 1844, the Renoirs moved to Paris, and here Auguste entered the church choir at the great Cathedral of Saint-Eustache. He had such a voice that the choir director, Charles Gounod, tried to convince the boy's parents to send him to study music. However, in addition to this, Auguste showed the gift of an artist, and when he was 13 years old, he began to help his family by getting a job with a master, from whom he learned to paint porcelain plates and other dishes. In the evenings, Auguste attended a painting school.

Roses in a vase. 1910

In 1865, at the house of his friend, the artist Jules Le Coeur, he met a 16-year-old girl, Lisa Treo, who soon became Renoir's lover and his favorite model. Their relationship continued until 1872, when Lisa left Renoir and married another.
Renoir's creative career was interrupted in 1870-1871, when he was drafted into the army during the Franco-Prussian war, which ended in a crushing defeat for France.
In 1890, Renoir married Alina Charigot, whom he had met ten years earlier when she was a 21-year-old seamstress. They already had a son, Pierre, born in 1885, and after the wedding they had two more sons - Jean, born in 1894, and Claude (known as "Coco"), born in 1901 and became one of the most beloved models father. By the time his family was finally formed, Renoir had achieved success and fame, was recognized as one of the leading artists of France and managed to receive the title of Knight of the Legion of Honor from the state.
Rheumatism made it difficult for Renoir to live in Paris, and in 1903 the Renoir family moved to an estate called "Colette"
personal happiness and professional success Renoir were overshadowed by his illness. After an attack of paralysis that occurred in 1912, Renoir was chained to wheelchair, however, he continued to write with a brush, which the nurse put between his fingers
IN last years life Renoir gained fame and universal recognition. In 1917, when his "Umbrellas" were exhibited at the London National Gallery, hundreds of British artists and art lovers sent him congratulations, which said: " From the moment your painting was hung in the same row with the works of the old masters, we experienced the joy that our contemporary took his rightful place in European painting ". Renoir's painting was also exhibited at the Louvre, and in August 1919 the artist last time visited Paris to see her.
On December 3, 1919, Pierre-Auguste Renoir died in Caen from pneumonia at the age of 78. Buried in Essua.

Umbrellas, 1881-1886 National Gallery, London

Little Miss Romaine Lacaux. 1864. Cleveland Museum of Art

Lisa with an umbrella. 1867

Portrait of Alfred and Marie Sisley. 1868

Study - Summer. 1868

Promenade. 1870. Paul Getty Museum

Pont Neuf. 1872. National Gallery of Art (USA)

The Seine at Argentueil. 1873

Spring Bouquet, 1866, Harvard University Museum.

"Girls at the piano" (1892). Musée d'Orsay.

La Loge. 1874

Woman with a cat. 1875. National Gallery of Art (USA)

Claude Monet paints a Picture in his garden at Argenteuil. 1875

Portrait of the Painter Claude Monet, 1875, Musée d'Orsay, Paris

Gabriel Renard and infant son Jean Renoir, 1895

Artist's family: Pierre Renoir, Alina Charigot,
epouse Renoir, Jean Renoir, Gabriel Renard. 1896.
Barnes Merion Foundation, Pennsylvania

Portrait of Alfonsine Fournaise, 1879, Musée d'Orsay, Paris

Girl with a watering can. 1876. National Gallery of Art (USA)

Ball at the Moulin de la Galette. 1876

Vase with chrysanthemums

Portrait of Jeanne Samary. 1877

Leaving The Conservatoire. 1877

Jeanne Samary mademoiselle. 1878.
cincinnati art museum

Bank of the Seine at Asnieres. 1879

Odalisque

Rowers at Chatou. 1879. National Gallery of Art (USA)

Doge's Palace, Venice, 1881

Still Life: Roses Vargemont, 1882

Children on Guernesey Beach, 1883 - Barnes Foundation, Merion, USA

Garden Scene in Brittany, 1886 Barnes Foundation, Lincoln University, Merion, USA

Girl with flowers. 1888

Still Life: Roses (1908)

Dinner. 1879

The Lunch of the Boating Party. 1881. Cleveland Museum of Art

By water, 1880, Art Institute Chicago

Two girls in black. 1881

On the terrace. 1881. Art Institute of Chicago

Swing (La Balancoire), 1876, Musee d'Orsay, Paris

fruits from the Midi. 1881. Art Institute, Chicago

La Grenouillere, 1868 National Museum, Stockholm, Sweden

city ​​dance. 1883

Dancing in Bougival. 1883

Dance in the Country. 1883

Girl with a hoop. 1885. National Gallery of Art (USA)

Mother and child. 1886. Cleveland Museum of Art

Apple seller. 1890. Cleveland Museum of Art

Rambler. 1895

The Large Bathers. 1887. Philadelphia Museum of Art

Bather Arranging Her Hair. 1893. National Gallery of Art (USA)

bather with long hair. 1895

Bather with blond hair. 1906

There is a lot to dislike about Renoir. Too many nudes female figures reclining on ostentatious sofas like giant hens ready to be plucked. They are often too sugary to deeply move our imagination. Its color effects may seem too sentimental and slick.

And when Renoir painted landscapes (which he did much less often), he often and willingly leaned towards the color he expected. In short, you can immediately identify the convenient and familiar Renoir to us while walking around the Musée d'Orsay.

For example, here:

Paintings of the artist - "Railway bridge in Shatu"

Or here:

Paintings of the artist - "The banks of the Seine in Champrossey"

But not in Algerian landscapes.

The artist's paintings — “Algerian landscape. Savage ravine»

Renoir took a trip to Algiers (a French colony in North Africa) in 1881 and he was the only Impressionist to do so. He made a second trip to next year- but noticeably shorter than the first. A short immersion in Algerian life was enough. Oriental motifs did not fascinate other impressionists either - for many of them, the French hinterland was "deep enough." What Renoir saw in Algiers was very unusual. The bright, blazing colors of wild, unruly, and often unkempt nature took him by surprise. And the artist changed his usual style.

We see a ravine (gorge) in countryside not far from the capital of Algiers is a wild and untamed desert area covered with shrubs, flowers, trees and grass. The title of the painting apparently alludes to some piquant incident that happened somewhere here, but we do not see any hint on the canvas.

It is impossible to determine exactly from what distance Renoir looked at this area - it seems that everything is next to us and directly in front of us without any intermediate stages. However, if you look closely, the far part of the ravine is lost in the haze and stretches the image. We feel both impressions almost simultaneously. It was as if Renoir's eye had swallowed whole the curvature and sprawl of the landscape, the delightful visual exuberance of the lines up, down and across.

It's all a bit like hair blowing in a wild, recalcitrant wind in all directions at once - pulsing, rippling back and forth, ever-changing and fickle.

Not immediately our eye begins to move in the picture in a certain direction. Our gaze immediately stumbles upon another obstacle and returns by itself. Our visual walk across the surface of the painting is like a roller coaster—stormy, bumpy, invigorating, and exciting. Nothing happens for a long time and constantly in this picture. The style resembles early Fauvism rather than Impressionism.

The painting consists of huge amount roughness and unevenness. Look, for example, at these ominous aloe spikes in the foreground - and then immediately smoothness and smoothness, although not for long.

We also see how many, many individual brush strokes the artist has made. It seems that Renoir is no longer doing this in order to capture the effect of light - that would be quite in the spirit of impressionism, but rather to cope with the huge mass of leaves that the artist's eye has noticed.

Paintings of the artist - "Banana fields"

Paintings of the artist - "Path in the tall grass"

This is one of Renoir's most recognizable landscapes. Path in tall grass- result joint work plein air with Claude Monet. Here Renoir uses the same motif as Monet in Macach near Argenteuil: a meadow full of greenery and a woman with a boy.

Just like Monet, Renoir repeats this couple in the background. However, his figures are more expressive, they, and not poppies, are the central characters.

Renoir paints this picture in small strokes, as is customary with the Impressionists. But this manner was not organic for him. As he admitted, it allowed “to make a more gentle transition from one key to another, but such a technique gives a rough texture ... I can’t stand it. I like to stroke the picture with my hand.

(the text uses materials from the article Michael Glover - Algerian Landscape. INPEDENDANT, March 2011 and the book by A. Kiselev "Landscapes of the Impressionists", Series "Great Canvases")

Portrait of the actress Jeanne Samary - a portrait by Auguste Renoir, a young actress of the Comedie Francaise theater, written in 1877. Stored in Moscow, in the Pushkin Museum im. A. S. Pushkin.
In 1877-1878, Renoir painted four portraits of Jeanne Samary, each of which differs significantly from the others in size, composition, and color. Jeanne Samary, before her marriage, lived not far from Renoir's studio on Rue Frochot and often came to pose for him. Portrait of the actress Jeanne Samary (1878, State Hermitage Museum)
This portrait of Jeanne Samary is considered one of the most impressionistic portraits in the entire work of the artist. Jeanne, at the same time smiling and thoughtful, is depicted in an exquisite green and blue dress against a pink background. The actress rests her chin on left hand, whose wrist is framed by a bracelet. Her reddish hair is slightly flying in different sides. In this portrait, Renoir managed to emphasize the best features of his model: beauty, grace, a lively mind, an open and relaxed look, a radiant smile. The main colors that make up the color of the picture are shades of pink and green. The style of the artist's work is very free, sometimes to the point of negligence, but this creates an atmosphere of extraordinary freshness, spiritual clarity and serenity.

Ball at the Moulin de la Galette was exhibited at the 3rd Impressionist Exhibition in 1877 (along with Swing) and is considered Renoir's main work of the mid-1870s.
Since 1879, the painting has been in the collection of the French marchand and painter Gustave Caillebotte. After his death in 1894, it became the property of the state as an inheritance tax, and in 1896 it was transferred to the Museum in the Luxembourg Gardens. Since 1929, the painting has been in the collection of the Louvre, from where it was transferred to the Musee d'Orsay in 1986, where it remains to this day.
In 1876, Renoir rented a studio with a garden in Montmartre, which was located near the Moulin de la Galette, a restaurant with dance hall in the upper part of Montmartre, which got its name from the name of the mill, located not far from it. In good weather, the main action took place on the street, where tables and benches were arranged in a circle. Renoir liked such a cheerful, relaxed atmosphere, and here he began to create the first sketches future picture. For the picture, he asked his friends to pose, so some of them can be recognized among the dancing and sitting at the tables. When writing this picture, the artist coped with the difficult task of depicting the reflection of the sun's glare, breaking through the foliage of acacias, on the faces and clothes of dancing and sitting people.

"Frog" (fr. La Grenouillère) - painting french artist Pierre Auguste Renoir painted in 1869.
"The Frog" was a cafe on the water, located on a pontoon moored to the banks of the Seine, standing in a small branch of the river and connected to the island by a bridge thrown over tiny island. In this place on the Seine between Chatou (fr. Chatou) and Bougival to the north-west of Paris there was a whole group of islands where Parisians came to rest. These places are described in detail by the Goncourt brothers ("Manette Salomon"), Emile Zola and Maupassant.

Great French Impressionist painter Auguste Renoir said: "I could not walk yet, but I already loved women." Women were for him the embodiment of harmony and beauty, a source of inspiration and main theme creativity. He had many lovers, but only Lisa Treo, Marguerite Legrand and Alina Sharigo became his muses for many years.

Renoir wrote and quite well-known representatives Parisian bohemia.

Renoir is attributed to one of the founders of classical impressionism, however, unlike the paintings of his colleagues, his painting developed in a different direction. He devoted his work to the techniques of transparent painting. Using completely new techniques for applying strokes, Renoir achieved a separate structure of his work, which greatly distinguishes his work from the school of the old masters.

Women in the paintings of Renoir

Renoir's paintings, whose names are associated with truly feminine charm, miraculously convey the barely noticeable features of girlish beauty. He was an optimist and sought out the most best manifestations in life, trying to preserve them with the help of the picturesque kinetics of his brushes.

As whom they radiate light, he knew how to find and depict only joyful and happy faces. Largely due to this ability of his, as well as the love of love inherent in people, the creator made women the quintessence of his art.

Renoir's paintings with the titles "Joan Samary", "Ballerina", "Bathers" give out in him a connoisseur of female nature, who had his own ideal of beauty and was alien to conventions. The women in Auguste's paintings are recognizable, and anyone who has ever encountered the history of painting is able to recognize the master's hand. Each lady always looks from the canvas with eyes filled with a thirst for love and a craving for change. Among common features that are visible in all portraits of women artist, - all the ladies in the paintings have a small forehead and a heavy chin.

"Portrait of Jeanne Samary" and "Portrait of Henriette Hanriot"

In 1877 was held personal exhibition exposures of the artist within the framework of impressionism. Among the majority of works, Renoir's paintings with the titles "Portrait of Jeanne Samary" and "Portrait of Henriette Hanriot" aroused the greatest interest. The ladies depicted in the pictures are actresses. The author painted their portraits more than once. The paintings captured attention largely due to the skillfully created illusion of the mobility of the white-blue background, which gradually condenses around the outlines of the feminine Henriette and leads the viewer to her velvety brown eyes. Despite the fact that in general the exposition came out very kinetic and emotional, it at the same time remained motionless, with an emphasis on the contrast of dark brow ridges and supple red curls.

In a similar manner, Pierre Auguste Renoir, whose paintings are not famous for the placement of accents and detailing, painted a portrait of the charming Jeanne Samary. The figure of the actress seems to be molded from ornate purple strokes, which incredibly absorbed the entire possible color palette and at the same time retained the dominant red color. Renoir skillfully brings the viewer to the girl's face, drawing attention to the drawn mouth, eyes and even strands of hair. The background puts reflexes on the face of the actress with a purple blush, which fits very harmoniously into the image of the diva. The very body of the actress is filled with hasty strokes characteristic of the Impressionists.

Technical features of Renoir's performance

Pierre Auguste Renoir, whose paintings radiate the spirit of impressionism, continued to work until last days life, not allowing the disease to remove him from the colors. In addition to his love for the depiction of female nature, the artist became famous for his ability to effectively use color and work with paints that his colleagues in the craft rarely resorted to.

Auguste is one of the few who skillfully resorted to using a combination of black, gray and white flowers so that the pictures do not look "dirty". The idea is to experiment with this colors visited the artist when he somehow sat and watched the raindrops. Many art historians notice that the artist can be called a master of the image of umbrellas, since he often resorted to this detail in his work.

For the most part, the master used white for work, Neapolitan yellow paint, cobalt blue, crown, ultramarine, kraplak, emerald green paint and vermilion, but their skillful combination gave rise to incredibly picturesque masterpieces. Toward 1860, as Impressionism was gaining momentum, Renoir's color palette changed and he began to resort to brighter hues, such as red.

Monet's influence on Renoir's work

The case led Renoir to a meeting with no less significant for french art painter, Their fates intertwined, and for some time they lived in the same apartment, constantly honing their skills, depicting each other on canvases. Some critics argue that the similarities between their paintings are so obvious that, were it not for the caption in the lower left corner, it would technically be impossible to tell them apart. However, there are obvious differences in their work. For example, Monet focused on the play of light and shadow, thanks to which he created his own contrasts on canvases. Auguste appreciated color more as such, which makes his paintings more iridescent and full of light. Another fundamental difference in the work of painters was that the paintings of Renoir, with the names of which women are certainly associated, always gravitated towards the depiction of human figures, while Claude Monet certainly took them to the background.