Exhibited in Paris by Bernheim-Jeune in 1927, Nature morte aux figues is a striking example of still life painting by Pierre-Auguste Renoir, one the great champions of the genre among the Impressionist painters. The practice of painting still lives was utilized as a vehicle for Renoir’s own artistic experimentation. He recommended still life painting to Julie Manet as training "to learn to paint quickly" (Julie Manet, Journal (1893-1899), Paris, 1979, p. 190).

Nature Morte aux figues has a charmingly informal composition, imbuing a sense of invigorated freedom and spontaneity as the subject matter allows the experimentation of light and color. Short, yet slightly feathery brushstrokes enhance the tactile nature of the pieces of fruit, animated by the vibrant colors and illuminating light which create dynamic shadows around the outline of the fruit arrangement. Renoir’s still-lifes were inspired by Paul Cézanne’s investigation of this theme, whose exploration of geometry and spatial perspective would change the direction of modern art (fig. 1).

In this lush composition, Renoir celebrates the simplicity of the form and color of the fruits. Painterly brushstrokes merge hues of blue to create the illusion of intricate folds that define the tablecloth. Larger than many of the artist’s mature paintings, Nature morte aux figues has the attention to detail reminiscent in Renoir's early oeuvre (fig. 2). The confident and gestured brush strokes that create the tablecloth compliment the delicate touches of impasto in the pomegranates as well as the figs. As if to challenge the critics of so-called "Impressionist" painting, Renoir's feather-like handling of his brush demonstrates his keen ability with oil paint.