In the present work, Samary is portrayed intimately in semi-déshabillé, a strap of her white chemise seductively slips off her shoulder. She is ethereally framed against an atmosphere of shadows and fluid brushstrokes, as Renoir draws on the natural variations of light to draw out Samary’s delicate beauty. She emerges from the hazy background, fleetingly captured in a space of quiet contemplation. Amidst, the beautiful granulations of colour, we are drawn to the sumptuous figure of the rose, delicately clasped in Samary’s hand. Often included to enhance the fresh and natural beauty of his female sitters, Renoir anthropomorphically juxtaposes the dainty flower to the actress, enriching the fleshy tones of her hand in a manner that heightens the rosy undertones of the sitter's complexion.
Although Samary as an actress was known for her boisterous laugh that was thought to verge on vulgarity, the artist depicts her with a quiet and delicate fascination, refashioning her image into a demure and alluring young woman: Renoir’s quintessential star. Such intimacy is characteristic of Renoir’s portraits of women, which, as Duret writes, 'catch the external features […] through them he pinpoints the model’s character and inner self. I doubt whether any painter has ever interpreted women in a more seductive manner. The deft and lively touches of Renoir’s brush are charming, supple and unrestrained, making flesh transparent and tinting the cheeks and lips with a perfect living hue. Renoir’s women are enchantresses' (quoted in 'Histoire des peintres Impressionists', Paris, 1922, pp. 27-28).
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