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With its warm light and loose brushstrokes, Pierre-Auguste Renoir’s Jeune femme assise, 1912–1914, exudes a soft glow and captures an intimate, introspective moment. Painted in the artist’s final decade, this portrait distills the stylistic experimentations that defined Renoir’s career, from his commitment to Impressionist motifs to the use of classic subjects inspired by Italian Renaissance painters like Raphael and Titian. While the present work sits within the genre for which Renoir became most well-known—portraiture—its connections to his own still lifes and landscapes serve as a culmination of an impressive and renowned oeuvre.
Pierre-Auguste Renoir, Madame Georges Charpentier and Her Children, 1878, The Metropolitan Museum of Art, New York. Image: © The Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund, 1907 While the model’s face remains entirely legible, Renoir renders it with a softness resulting from a combination of the gentle lighting upon her skin, tendrils of loose hair, and her calm expression. Unlike portraits of known society figures such as Madame Georges Charpentier and Her Children, 1878, The Metropolitan Museum of Art, New York, Femme en buste instead depicts a subject from domestic, modern life. After moving from urban Paris to the French countryside in 1907, Renoir’s subject matter transitioned from commissioned portraits of wealthy patrons and their families, such as the Charpentiers, towards more intimate studies of the female form, including models, local women, and close friends.
“I like a painting which makes me want to stroll in it, if it is a landscape, or to stroke a breast or a back, if it is a figure.”
—Pierre-Auguste RenoirFurther shifting away from his earlier tendency for sharp figural outlines, in the present work, Renoir renders his sitter in painterly, airy brushstrokes barely distinguishable from the background. At lower right is the mere suggestion of the figure’s hands, standing out against the warm golden backdrop. In the background, there seems to be an amorphous armchair that blends into its surroundings. Around this time, the artist wrote that “at the moment, I am trying to merge the landscape with my figures,” and this portrait perfectly captures his success in this ambition.i Renoir’s painterly approach to this portrait mimics his still lifes. Upon close inspection, folds of the woman’s robe could just as easily depict the papery skin of an onion, and her rosy, pink lips appear almost like flower petals. These resemblances evidence his willingness to experiment with new techniques and subjects in his later years. As such, Jeune femme assise encapsulates Renoir’s transformative artistic journey in his final decade.
Pierre-Auguste Renoir, Onions, 1881, Sterling and Francine Clark Art Institute, Williamstown. Image: Courtesy Clark Art Institute. clarkart.edu i Pierre-Auguste Renoir, quoted in Renoir in the Barnes Foundation, New Haven, 2012, p. 42.
來源
蘇黎世B. Mayer收藏
盧塞恩Thannhauser畫廊（1925 年 7 月 6 日購自上述來源）
紐約Robert W. Schütte收藏（1930 年 7 月 28 日購自上述來源）
紐約Florence S. Schütte收藏（1935 年繼承自上述來源）
紐約，Parke-Bernet 畫廊，紐約，1946 年 1 月 5 日，拍品編號 760
Isabelle M. Murphy收藏（購自上述拍賣）
Isabelle M. Murphy遺產管理委員會收藏
紐約，蘇富比，1992 年 5 月 14 日，拍品編號 242
私人收藏（購自上述拍賣）
倫敦Jeremy Wiltshire Fine Art畫廊
現藏者於2003年11月購自上述來源過往展覽
Berlin, Galerie Thannhauser, Erste Sonderausstellung in Berlin, January 9–February, 1927, no. 205, pp. 138–139 (illustrated, p. 139; titled Junges Mädchen)
文學
Julius Meier-Graefe, Renoir, Leipzig, 1929, no. 312, p. 316 (illustrated; titled Sitzendes Mädchen; dated 1906)
Guy-Patrice and Michel Dauberville, Renoir Catalogue Raisonné des Tableaux, Pastels, Dessins et Aquarelles 1903–1910, vol. 4, Paris, 2012, no. 3269, p. 347 (illustrated)
重要美國私人收藏
118
《女人半身像》
款識：Renoir（左上方）
油彩 畫布
13 1/2 x 10 7/8 英吋（34.3 x 27.6 公分）
約1909年作，此作將被納入由Wildenstein Plattner學院贊助編錄的網上作品全集。
估價
$150,000 - 250,000
成交價$254,000
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175
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