Pierre-Auguste Renoir

Galerie Hervé Odermatt, Paris
Sale: Christie's, New York, May 13, 1999, lot 149
Private Collection
Acquired from the above by the present owner

Very Good Condition. Work is lined. Surface is clean. Under UV light, a dark varnish fluoresces,but no inpainting is apparent except in a line 1 in. to right of woman's chin.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

During his initial involvement with the Impressionists in the 1870s, Renoir favored looser brushwork with little reliance on line.  His emphasis shifted to the predominance of color after a trip to Italy in 1881, where he saw the frescoes of Raphael at the Villa Farnesina.  In his 1921 monograph, Renoir et ses amis, Georges Rivière recounted this aesthetic development: "The design has been modified and the outlines of the figures have been lightly defined in a way they were not prior to 1882.  The tones are simplified.  In some figures they become almost flat with shadowy tints, in the style of ancient frescoes.  There can be seen an attempt at color synthesis, in contrast to the diffusions of tones previously adopted by the painter" (Quoted in Nicholas Wadley, Renoir: A Retrospective, New York, 1987, p. 161).

After 1900, Renoir's paintings of the seated figure, such as Portrait de Femme, began to take on a more solid and voluminous sense of form and a vivid, almost textural interpretation of human form.  With regard to these paintings, John House has noted that "his figures tend to be more thickly painted, but not with single layers of opaque color; instead fine streaks of varied hue are built up, which create a varied, almost vibrating surface" (John House, Renoir (exhibition catalogue), Hayward Gallery, Museum of Fine Arts, Boston, 1985-85, p. 278).  In Portrait de Femme, Renoir rendered textural quality through his command of color.  The ribbon-like brushstrokes of the background and the model's dress are applied in a free and quick manner, contrasting with the defined features of her face and hair.  In his paintings of anonymous young women, Renoir was able to make daring choices in his manner of execution, as he felt no obligation to portray his sitters naturalistically.