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Pierre-Auguste Renoir

France (Limoges 1841 -  Cagnes-sur-mer 1919 ) Wikipedia® : Pierre-Auguste Renoir
RENOIR Pierre-Auguste Maternité (delteil, Stella 50)

William Doyle
Apr 10, 2019
Find artworks, auction results, sale prices and pictures of Pierre-Auguste Renoir at auctions worldwide.
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Variants on Artist's name :

Pierre Auguste Renoir

Pierre August Renoir

 

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Artworks in Arcadja
5208

Some works of Pierre-Auguste Renoir

Extracted between 5,208 works in the catalog of Arcadja
Pierre-Auguste Renoir - Le Chapeau Épinglé, 2ème Planche

Pierre-Auguste Renoir - Le Chapeau Épinglé, 2ème Planche

Original
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Lot number: 173
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PIERRE-AUGUSTE RENOIR (1841-1919) Le Chapeau Épinglé, 2ème Planche lithograph in colors, on Arches laid paper, watermarked MBM, 1898, a trial proof (the edition was 200 impressions in eleven colors), published by A. Vollard, Paris, with full margins, a ½-in. repaired tear the the lower sheet edge, framed Image: 24 x 19 ¼ in. (610 x 489 mm.) Sheet: 35 5/8 x 24 ½ in. (905 x 622 mm.)
Pierre-Auguste Renoir - Maternité (delteil, Stella 50)

Pierre-Auguste Renoir - Maternité (delteil, Stella 50)

Original 1912
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Lot number: 109
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Lot Details Lot 110 Pierre-Auguste Renoir (1841-1919) MATERNITÉ (DELTEIL, STELLA 50) Lithograph, circa 1912, with later hand-coloring, on laid Arches paper, second state of two, from the edition of 200, published by Ambroise Vollard, Paris, with full margins, framed. 21 1/4 x 19 1/4 inches Sheet 25 7/8 x 19 3/4 inches C Estate of Albert Lee
Pierre-Auguste Renoir - Ambroise Vollard

Pierre-Auguste Renoir - Ambroise Vollard

Original 1904
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Lot number: 176
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176 PIERRE-AUGUSTE RENOIR (1841-1919), French AMBROISE VOLLARD (FROM DOUZE LITHOGRAPHIES ORIGINALES) CIRCA 1904 [DELTEIL, 37] Lithograph on wove paper; signed in the plate. From an edition of 950 on wove paper from the total edition of 1000. Published and printed by Ambroise Vollard, Paris in 1919. Image/Sheet 9.25" x 6.75" — 23.5 x 17.1 cm.; 13" x 9.75" — 33 x 24.8 cm.
Pierre-Auguste Renoir - Le Village De Cagnes Vu De La Terrasse Des Collettes

Pierre-Auguste Renoir - Le Village De Cagnes Vu De La Terrasse Des Collettes

Original
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Lot number: 188
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PIERRE AUGUSTE RENOIR (1841 1919) Le village de Cagnes vu de la terrasse des collettes Huile sur toile, signée en bas à droite 30.5 x 43.5 cm - 12 x 17 1/8 in. Oil on canvas, signed lower right Une copie de l'avis d'insertion au catalogue critique du peintre Pierre-Auguste Renoir établi en date du 20 mars 2012 par le Wildenstein Institute à partir des fonds d'archives François Daulte, Durand-Ruel, Venturi, Vollard et Wildenstein sera remis à l'acquéreur PROVENANCE Galerie Georges Bernheim, Paris Eastlake Gallery Inc., New-York Vente Sotheby's, New-York, 3 mai 2012 Collections Aristophil LE VILAGE DE CAGNES En 1908, Renoir écrit à Julie Rouart, la fille de Berthe Morisot et d\’Eugène Manet: «Nous jardinons en ce moment comme le Vieux de La Fontaine... les petits pois se portent bien, et les pommes de terre aussi. Donc pour le moment, c\’est le bonheur total. Si tout Cagnes ne s\’était pas pris d\’amitié pour moi à cause de mon beau domaine, tout irait parfaitement bien, mais me voici devenu une personnalité estimée dans le pays, alors que personne ne prêtait attention à moi encore l\’année dernière. »1. C\’est depuis la terrasse de la villa qu\’il s\’est construite que Renoir propose une vue de Cagnes rafraichie par la forte présence de tons bleutés, qui semblent restituer les ombres projetées par les oliviers du premier plan. La cime des arbres semble pour sa part prendre tout le soleil estival du Midi. La touche légère et vaporeuse de l\’artiste laisse une impression de douceur au spectateur qu\’il introduit dans l\’intimité de sa propriété. In 1908, Renoir wrote to Julie Rouart, the daughter of Berthe Morisot and Eugène Manet: \“At present we are gardening like the Old Man in La Fontaine...the peas are doing well, and so are the potatoes. So for the moment, all is bliss. If only the whole of Cagnes hadn\’t developed a keen friendship for me because of my fine property, everything would be perfect, but here I am, a highly regarded person in the region now, when nobody paid any attention to me last year.\”1 From the terrace of the villa he had built, Renoir gives us a view of Cagnes made cooler by the strong presence of bluish tones, which seem to depict the shadows of the olive trees in the foreground. Meanwhile, the treetops appear to have captured all the summer sunshine of the Midi. A light, misty touch creates a soft and gentle impression for the viewer, who is drawn into the intimacy of the artist\’s home territory.
Pierre-Auguste Renoir - Jeune Fille Se Peignant (la Coiffure)

Pierre-Auguste Renoir - Jeune Fille Se Peignant (la Coiffure)

Original 1896
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Lot number: 1010
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JEUNE FILLE SE PEIGNANT (LA COIFFURE) Pierre-Auguste Renoir 1841 - 1919 executed circa 1896 signedRenoir(lower left) oil on canvas 57.2 by 47 cm; 22½ by 18 ½ in. This work is accompanied by an Attestation of Inclusion from the Wildenstein Institute, and it will be included in the forthcoming Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Jacques Koerfer, Bern Galerie Charpentier, Paris, 30 March 1954, Lot 93 Knoedler & Co., New York Private Collection (acquired from the above and sold: Parke-Bernet Galleries, New York, 21 October 1971, Lot 88) Acquired at the above sale by Janet Traeger Salz Exhibited Paris, Galerie Durand-Ruel,De Corot à Renoir, 1934, no. 41 Winterthur, Kunstmuseum,Europäische Meister 1790-1955, 1955, no. 166 Literature Guy-PatriceandMichel Dauberville ed.,Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles 1895-1902, vol. III, Bernheim Jeune Editions, Paris, 2010, no. 2256,illustrated p. 321 An enchanting celebration of youthful beauty, Jeune fille se peignant(Lot 1010), executed circa 1896, depicts a young woman gently brushing her long hair in the intimate setting of her boudoir. Dressed in a simple white chemise, the model is captured in profile as her body twists, revealing the elegant curve of her neck. The heightened sense of tactility lends the composition an aura of distinct sensuality. Although the model\’s identity is unknown, her youthful, rounded features are typical of Renoir\’s 1890s paintings - softer and more idealised than the naturalistic working girls which he portrayed during the 1870s and 1880s. In 1888, Renoir wrote to his dealer Durand-Ruel about his latest efforts: \‘I have taken up again, never to abandon it, my old style, soft and light of touch. This is to give you some idea of my new and final manner of painting – like Fragonard, but not so good (quoted in J. House, Renoir in the Barnes Foundation, New Haven, 2012, p.121). The present work epitomises Renoir\’s \‘intentions\’ in its joyous simplicity. The theme of the woman styling her hair and, more broadly, that of La Toilette, has an illustrious artistic lineage dating back to Renaissance vanitas portraits, in which the woman gazes in front of the mirror and treats herself, along with the viewer, as an object of visual pleasure. This subject was of central importance to Renoir\’s œuvre. \‘The ostensible theme\’, John House has written, \‘is self-adornment and women\’s preoccupation with appearance; but the vision that is being realised is of course Renoir\’s own: while the model prepares herself for display, she displays herself to the painter, who posed her thus, and to the viewer of the picture\’ (Renoir, exhibition catalogue., Hayward Gallery, London, 1985, p. 282). Renoir\’s boudoir paintings uniquely fall into the middle ground between the strongly sensual Orientalist works of Jean-Auguste-Dominique Ingres and the works produced by Edgar Degas in the 1880s, which present the act of hair-combing as a banal daily routine, wholly subverting any provocative connotations. Renoir, however, delights in the extravagantly long and undone hair of his models; his paintings herald the femininity of young women by eschewing overt eroticism in favour of a quiet intimacy. Jeune fille se peignant exhibits Renoir\’s skill in conveying the tangibility of his sitter\’s flesh, drawing inspiration from the art of Titian, Rubens and Velázquez. By using a constellation of soft, feathery brushstrokes, Renoir captures the nuances of colour in a delicate interplay of pale tones, creating a lustrous surface and evoking the fluttering passage of light as it crosses her supple skin. Her body has a palpable weight and solidity, achieved by careful delineations between shadow and light, lending her form a new monumentality. The model is seemingly unaware of the artist\’s presence and the harmonious palette applied uniformly by the touch of Renoir\’s caressing brush, heightens even further the effect of her private, self-contained world. This \‘new and final manner\’ that Renoir described to Durand-Ruel was an immediate success, bringing long-awaited fame for the artist in the 1890s. In 1892, the French State purchased Renoir\’s Jeunes filles au piano for the Musée Luxembourg as a mark of official recognition, which Renoir regarded as one of his crowning achievements. A younger generation of artists and critics also embraced Renoir\’s recent works, with their air of timelessness appealing to Symbolist artists. The Nabi painter Maurice Denis observed: \‘An idealist? No. A naturalist? If that\’s what we want to call him. Renoir has limited himself to translating his personal emotions, the entirety of nature and the entirety of dream, with methods personal to him. He has composed with the pleasures of his eyes wonderful bouquets of women and flowers. And since he is large of heart and strong of will, he has created only beautiful things\’ (quoted in A. Distel, Renoir, New York, 2010, p. 289). Fig. 1 Wheelchair-bound artist Auguste Renoir (1841 - 1919) painting in his studio at Les Collettes, Cagnes, France. (Photo by Hulton Archive/Getty Images) Wheelchair-bound artist Auguste Renoir (1841 - 1919) painting in his studio at Les Collettes, Cagnes, France. (Photo by Hulton Archive/Getty Images) Fig. 2 Pierre Auguste-Renoir, Au moulin de la Galette, 1876, oil on canvas, 78 x 114 cm, sold for USD 78,100,000 at Sotheby\’s New York Impressionist and Modern Paintings and Sculpture Sale on 17 May 1990. © Sotheby\’s
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