Renoir: "Irregularity is the basis of all art"

• "They tell you that a tree is only a combination of chemical elements. I prefer to believe that God created it, and that it is inhabited by a nymph".

• "Ti dicono che un albero è solo una combinazione di elementi chimici. Io preferisco credere che sia stato Dio a crearlo e che sia abitato da una ninfa".

Pierre-Auguste Renoir | L'Estaque, 1885-1890

"L'Estaque" is an oil on canvas, 18 3/8 x 21 7/8 inches, by Pierre-Auguste Renoir (1841-1919), created in 1885-1890.

It is part of the collection of the Portland Museum of Art.

Pierre-Auguste Renoir passed through Provence on his return trip to France from Italy in January 1882, stopping at the fishing village of L'Estaque on the Mediterranean coast - close to Marseilles in the South of France, where Cézanne had painted regularly since the 1860s.

Pierre-Auguste Renoir | L'Estaque, 1885-1890 | Portland Museum of Art

Pierre-Auguste Renoir | La Balançoire / L'altalena, 1876

Renoir gives us the impression of surprising a conversation - as if in a snapshot, he catches the glances turned towards the man seen from the back.

The young woman is looking away as if she were embarrassed.

The foursome in the foreground is balanced by the group of five figures sketchily brushed in the background.

The Swing has many points in common with The Ball at the Moulin de la Galette.

The two pictures were painted in parallel in the summer of 1876.

Pierre-Auguste Renoir: "La vita è un mazzo di fiori rossi"

"• "What seems most significant to me about our movement is that we have freed painting from the importance of the subject. I am at liberty to paint flowers and call them flowers, without their needing to tell a story".

• "La vita è un mazzo di fiori rossi".

Pierre-Auguste Renoir | Stile artistico

Renoir è stato uno degli interpreti più convinti e spontanei del movimento Impressionista.

Artista prodigiosamente prolifico, con all'attivo ben cinquemila tele e un numero altrettanto cospicuo di disegni e acquerelli, Renoir si è distinto anche per la sua poliedricità, tanto che possiamo distinguere numerosi periodi nella sua produzione pittorica.

È lo stesso Renoir, in ogni caso, a parlare del suo metodo di fare arte:

"Dispongo il mio soggetto come voglio, poi mi metto a dipingerlo come farebbe un bambino.

Voglio che il rosso sia sonoro e squillante come una campana, quando non ci riesco aggiungo altri rossi ed altri colori finché non l'ottengo".

Pierre-Auguste Renoir | Luncheon of the Boating Party, 1881

Luncheon of the Boating Party by Pierre-Auguste Renoir remains the best known and most popular work of art at The Phillips Collection, just as Duncan Phillips imagined it would be when he bought it in 1923.

The painting captures an idyllic atmosphere as Renoir's friends share food, wine, and conversation on a balcony overlooking the Seine at the Maison Fournaise restaurant in Chatou.

Parisians flocked to the Maison Fournaise to rent rowing skiffs, eat a good meal, or stay the night.

Pierre-Auguste Renoir: "I want a red to be sonorous - to sound, like a bell.."

Pierre-Auguste Renoir (1841-1919) was a prominent French painter and a leading figure in the development of the Impressionist style.

As a celebrator of beauty and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau".

Known for his distinctive soft brushwork, vibrant colors, and focus on celebrating beauty and sensuality, he captured intimate and joyful scenes of everyday life.

Renoir: "If painting were not a pleasure to me I should certainly not do it"

Renoir was one of the leading painters of the Impressionist group.

He evolved a technique of broken brushstrokes and used bold combinations of pure complementary colours, to capture the light and movement of his landscapes and figure subjects.

Following a visit to Italy in 1881 his style changed, becoming more linear and classical.

Renoir was born in Limoges in south-west France, where he began work as a painter on porcelain.

Pierre-Auguste Renoir | Bal du moulin de la Galette, 1876

Bal du moulin de la Galette (Dance at Le Moulin de la Galette) is doubtless Renoir's most important work of the mid 1870's and was shown at the Impressionist exhibition in 1877.

Pierre-Auguste Renoir | Jeune fille (L’Eté), 1880

Renoir’s Jeune fille (L'Eté) is a pretty pastel fantasy: a plump brunette wears a breezy white chemise and a fashionable straw hat, festooned with a thick blue ribbon.

This Impressionist goddess of summer, nestled in a flowering meadow, has adorned her hat with freshly plucked blooms.

She leans towards the viewer with a sweet, languid look, her lips gently parted.

The sensuality of her expression is underscored by the casual exposure of her bare shoulder, arms and décolleté.

Pierre-Auguste Renoir | Jeune fille (L’Eté), 1880 | Christie's

Pierre-Auguste Renoir | Femme en promenade, 1890

Pierre-Auguste Renoir demonstrated affinity toward portraiture, evidenced by its prevalence in and importance to his oeuvre.

He had a range of patrons, and in fact, his success and resultant legacy as an artist is intimately tied to his penchant for depicting women and children.

In the Paris Salon of 1879, he exhibited a family portrait of Madame Charpentier titled Portrait de Madame Charpentier et ses enfants.

Madame Charpentier was the wife of the publisher of Emile Zola, Gustave Flaubert, and the Goncourt brothers, and this initial work spurred his popularity and resulted in an increasing number of portrait commissions following its public exhibition.

Pierre-Auguste Renoir | Femme en promenade, 1890 | Christie's

Pierre-Auguste Renoir in Guernsey, 1883

Between late summer and early autumn of 1883, Pierre-Auguste Renoir spent over a month on the Channel Island of Guernsey, lodging at no. 4 of George Road, St. Peter Port.

The beach of Moulin Huet, and the nearby bay at the east end of the island's rocky south coast within walking distance from his lodgings, provided the inspiration for approximately fifteen paintings, including Rochers de Guernesey avec personnages (plage à Guernesey), alongside Moulin Huet Bay, Guernsey (in the National Gallery, London) and Enfants au bord de la mer Guernsey (in the Barnes Foundation, Pennsylvania).

Pierre-Auguste Renoir | Rochers de Guernesey avec personnages (plage à Guernesey), 1883 | Christie's

Pierre-Auguste Renoir | The Umbrellas, 1881-1886

Renoir's 'Umbrellas' shows a bustling Paris street in the rain.

The composition of the painting does not focus on the centre of the picture which is a tangle of hands. It even cuts of figures at either edge like a photographic snapshot.

This kind of unconventional arrangement was something that several of the Impressionists, including Renoir and Degas, enjoyed experimenting with.

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Pierre-Auguste Renoir | The Bay of Naples, 1881

The corner of the balcony visible at lower left in this composition indicates Renoir’s vantage point overlooking the bay of Naples.

His position afforded an iconic view of the harbor with the volcano Mount Vesuvius in the background, wafting smoke into the sky.

Inspired by the southern Italian light, Renoir painted another version of this vista at a different time of day (The Clark Art Institute, Williamstown, Mass.).

James Duncan, a wealthy sugar refiner, purchased the present work in 1883, making it the first Impressionist picture acquired by a Scottish collector.

Pierre-Auguste Renoir | The Bay of Naples, 1881 | Metropolitan Museum of Art

Pierre-Auguste Renoir: "La mia Italia" | Le lettere..

Italia, autunno 1881.

Alla signora Charpentier,

Dovevo pranzare un mattino con voi, e mi avrebbe fatto infinitamente piacere, perché è già passato tanto tempo.

Ma sono diventato improvvisamente viaggiatore e mi ha preso la febbre di vedere Raffaello .

Pierre-Auguste Renoir | Un jardin à Sorrente, 1881 | Sotheby's

Pierre-Auguste Renoir | Pan’s Party, 1879

Pierre-Auguste Renoir painted this florid allegorical canvas, La fête de Pan, in the summer of 1879.

Commissioned to adorn the drawing room of the Bérard family’s country home, the Château de Wargemont, La fête de Pan depicts a spring festival devoted to the ancient Greek god, Pan - a rare example of a mythological subject in Renoir’s oeuvre.

This jubilant painting combines the artist’s careful observations of nature en plein air with his imaginative fantasies of beauty, both feminine and floral.

Pierre-Auguste Renoir | Tête de jeune fille coiffée d'un chapeau de jardin, 1895

"I have taken up again, never to abandon it, my old style, soft and light of touch", Renoir wrote to his dealer Durand-Ruel in 1888, full of enthusiasm for his latest efforts.

"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).

Renoir's new approach represented a sea-change after the controversial Ingres-inspired method he cultivated in the previous decade.

Pierre-Auguste Renoir | Tête de jeune fille coiffée d'un chapeau de jardin, 1895 | Christie's

Pierre-Auguste Renoir | Tête de jeune fille, 1882

Painted in 1882, "Tête de jeune fille" dates from a key period of transition within Pierre-Auguste Renoir’s career.

It was at the beginning of that year that the pioneering Impressionist dealer Paul Durand-Ruel had begun to purchase Renoir’s work, granting the artist a new level of professional and financial security, which in turn enabled him to travel abroad for the first time.

Pierre-Auguste Renoir | Tête de jeune fille, 1882 | Christie's

Pierre-Auguste Renoir: "Il dolore passa ma la bellezza rimane"

• "Un giorno, mentre dipingevo un paesaggio nei pressi di Algeri [marzo 1881], vidi avvicinarsi un uomo che sembrava vestito di porpora e di panno d'oro...

Quando il viaggiatore mi raggiunse, la mia illusione svanì; il mio emiro non era altro che un mendicante rosicchiato.

Il sole, il sole divino, lo aveva arricchito con la sua luce...

È sempre così in Algeria.

La magia del sole trasmuta le palme in oro, l'acqua sembra piena di diamanti e gli uomini diventano i Re d'Oriente".

René Magritte | The “Renoir” period, 1940-1947

- "For the period I call 'Surrealism in full sunlight', I am trying to join together two mutually exclusive things: one, a feeling of levity, intoxication, happiness, which depends on a certain mood and on an atmosphere that certain Impressionists, or rather, Impressionism in general, have managed to render in painting.

Without Impressionism, I do not believe we would know this feeling of real objects perceived through colours and nuances, and free of all classical reminiscences... and, two, a feeling of the mysterious quality of objects" - René Magritte.