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Pierre-Auguste Renoir
1841 - 1919年
MARIA AU REPOS (GABRIELLE ASSISE)
Signed Renoir. (upper left)
Oil on canvas
16 3/4 by 11 3/8 in.
42.5 by 29 cm
Painted circa 1905. 
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This work will be included in the forthcoming Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

來源

Galerie Bernheim-Jeune, Paris
Maurice Gangnat, Paris (and sold: Hôtel Drouot, June 24-25, 1925, lot 95)
Henri Kapferer, Paris (acquired at the above sale)
Sam Salz, New York (acquired from the above by 1939)
Rebecca Shulman, Connecticut (acquired from the above on April 5, 1940)
Private Collection, United States (and sold: Sotheby's, New York, May 21, 1981, lot 528)
Private Collection, Europe (acquired at the above sale) 
Sale: Habsburg, Feldman S.A., Geneva, November 24, 1987, lot 38
Sale: Hôtel Drouot, Paris, March 25, 1994, lot 44 
Acquired at the above sale by the present owner

展覽

Paris, Galerie Paul Rosenberg, Dix dernières années de Renoir, 1934, no. 27
Los Angeles Museum, Los Angeles, The Development of Impressionism, 1940, no. 65 (titled  Marie and dated circa 1896) 
Philadelphia, Philadelphia Museum of Art, Summer Loan Exhibition, 1972, n.n.
Kyoto Takashimaya, Kyoto, Renoir/Picasso/Laurencin, 1983, no. 19, illustrated in color in the catalogue (titled Gabrielle)
New York, Hammer Galleries, Renoir, Paintings from 1870-1914, 1984, n.n., illustrated in color in the catalogue
Hiroshima, Hiroshima Prefectural Art Museum & Tokyo, The Bunkamura Museum of Art, Monet and Renoir: Two Great Impressionist Trends, 2004, no. 76, illustrated in color in the catalogue 

出版

Guy-Patrice & Michel Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. IV, Paris, 2012, no. 3292, illustrated p. 362 

相關資料

Portraiture was the dominant form of Renoir’s output during the first few of decades of his career. In the 1860s and 1870s he accepted numerous paid commissions as he sought to establish himself as an artist, yet this most traditional of genres was also the means through which he began to develop his distinctive artistic idiom. As Colin Bailey writes, "Whereas the pose and presentation of Renoir’s sitters might be conservative or appropriated, the paintings themselves look nothing like the conventional portraiture of the last decade of the Second Empire and the early Third Republic. What distinguishes them from those of Renoir’s Salon contemporaries is the extraordinary light with which they are imbued" (Colin Bailey, Renoir’s Portraits: Impressions of an Age (exhibition catalogue), National Gallery of Canada, Ottawa, 1997, p. 21).

It has been suggested that the subject of the present work may be Gabrielle Renard, was Renoir's housemaid and governess to his children in addition to being one of the artist's most celebrated sitters. The artist began featuring her in several group portraits with his sons Coco and Jean at the turn of the century. The present depiction of Gabrielle captures Renoir's burgeoning sense of intimacy and affection for his subject. As her relationship with the family became more familiar, she began posing for Renoir in the nude. Gabrielle left the Renoir household in 1914, shortly before she was to marry the painter Conrad Slade. It has been suggested that her departure was at the behest of Madame Renoir, who was jealous of her husband's attention to Gabrielle, evidenced by the numerous depictions of her that he completed throughout her employment.  

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