The still life genre allowed for a certain degree of improvisation that the portraiture most often associated with the artist restricted him from. In Pommes one can see how the subject matter allowed for experimentation with light and colour. The present work is demonstrative of the appreciation that Renoir held for the still life; he once told Albert André that it was in these small works with their informal compositions that ‘he put the whole of himself, that he took every risk’ (Albert André, Renoir, Paris, 1928, p. 49). Short, yet slightly feathery, brushstrokes enhance the tactile nature of the pieces of fruit whilst retaining dynamism that further brings them to life. Within the present work, Renoir interweaves the traditional subject matter of the still life with the softness of the Impressionist palette to superb effect.
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