Mme Pierre Dubied, Neuchâtel
Wildenstein & Co., Ltd., New York (acquired from the above in 1957)
Acquired from the above in 1958
It is not surprising that the subject of a floral still-life appealed to Renoir. He had begun his career painting flowers on porcelain for the Sèvres workshop, and like a number of his fellow Impressionists he had often turned to flower-filled gardens as an ideal subject for his experimentations with colour and light. As was noted at the time of a retrospective exhibition in 1988: "For an artist enamoured with color, flowers provide a perfect subject – infinitely varied, malleable to any arrangement. Several of Renoir's most beautiful paintings are flower pieces. Renoir painted many pictures of flowers in addition to the more numerous figures and landscapes. Flowers appear frequently in his paintings as hat decorations or as part of the landscape behind figures even when they are not the main motif. Renoir himself said that when painting flowers he was able to paint more freely and boldly, without the mental effort he made with a model before him" (Renoir Retrospective (exhibition catalogue), Nagoya City Art Museum, 1988, p. 247).
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