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印象派及現代藝術日拍

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Pierre-Auguste Renoir
1841 - 1919年
PAYSAGE À CAGNES - FRAGMENT
stamped Renoir (lower left)
oil on canvas
24.5 by 38.6cm., 9 5/8 by 15 1/8 in.
Painted circa 1916.
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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

Estate of the Artist
Bernheim-Jeune, Paris (acquired from the above after 1919)
Galerie Dr. Raeber, Basel
Dr & Mrs. Albert Seltzer (sale: Sotheby's Parke Bernet, New York, 19th May 1978, lot 314)
Harry Krampf, Paris (purchased at the above sale)
Ryuzaburo Umehara, Japan
Thence by descent to the present owner

展覽

Tokyo, The Seibu Museum of Art, Exposition Renoir, 1980, no. 18 (titled Paysage)

出版

Bernheim-Jeune (ed.), L'Atelier de Renoir, Paris, 1931, vol. II, no 521, illustrated pl. 163 (titled Paysage and dated 1914-19)
Guy-Patrice & Michel Dauberville, Renoir Catalogue raisonné des tableaux, pastels, dessins et aquarelles 1895-1902, Paris, 2014, vol. v, no. 3803, illustrated p. 116 (illustration of the larger canvas)

相關資料

Paysage à Cagnes, with its expressive brushstrokes and colourful palette, is a wonderful example of the artist’s southern landscapes. Although Renoir is often considered first and foremost a figure painter, landscape represents a major component of his œuvre and it was in this genre 'that he often felt able to parade the most informal and improvisatory aspects of his art' (Renoir Landscapes, 1865-1883 (exhibition catalogue), National Gallery, London, 2007, p. 16).

In 1907, Renoir and his family settled in Cagnes due to the artist’s declining health, living in the charming stone farmhouse ‘Les Collettes’ where he remained for the rest of his life. Residing among scented olive and citrus groves with Mediterranean views and mountainous vistas, the countryside provided an infinite source of inspiration for the artist’s final years. The warmth of tone and radiance of light that emanate from the present work is evocative of Renoir’s love for his home. Tangible forms of nature rendered through vibrant colours and lively brushwork imbue the Impressionist effects of atmosphere, movement and joyfulness. Renoir increasingly liked his canvases to be full and sonorous, with every corner of the painting embellished with fertile trees, sumptuous foliage and a sparkling sky, brought to life by a brilliant palette. Natural and unspoiled, this view is devoid of any sign of industry or modern life. While Renoir was drawn to an Arcadian ideal of Mediterranean classicism, he adopted a sincere approach to nature as he did not attempt to tame it but instead revelled in its irregularity. 'Renoir could paint the very same spot of landscape a number of times and each version would reveal an essentially different ramification of his spirit and feelings' (Albert Barnes & Violette de Mazia, Renoir, A Retrospective (exhibition catalogue), New York, 1987, p. 339).

Not restrained by the demands of portraiture, landscapes offered Renoir the freedom to experiment outside the constraints of conventional notions of composition and finish. Commenting on the South of France, Renoir remarked: ‘In this marvelous country, it seems as if misfortune cannot befall one; one is cosseted by the atmosphere’ (Renoir, exhibition catalogue., Hayward Gallery, London, 1985-86, p.286).

印象派及現代藝術日拍

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倫敦