Dance at le Moulin de la Galette | artble.com Dance at le Moulin de la Galette Dance at le Moulin de la Galette Dance at le Moulin de la Galette Date of Creation: Bal du moulin de la Galette Height (cm): Dance at le Moulin de la Galette Story / Theme Dance at le Moulin de la Galette Pierre-Auguste Renoir Dance at le Moulin de la Galette is also known as Bal du moulin de la Galette and it is hailed as one of Renoir's most important works of the mid 1870s. The Moulin de la Galette was an open-air dancehall and café that was frequented by many artists living in Paris. Renoir attended Sunday afternoon dances and enjoyed watching the happy couples. For him, it provided the perfect setting for a painting. Most of the figures featured in Dance at le Moulin de la Galette were Renoir's friends, but he also used a few professional models. Thus, it can be said that the scene he depicts is not a realistic representation of the Moulin's clientele, but rather an organized set of portraits.

This painting was first shown at the Impressionist exhibition of 1877 and demonstrated the original technique developed by Renoir. This canvas shows Renoir's friends, Frank Lamy, Norbert Goeneutte, and Georges Rivière gathered around the central table. Rivière, a writer who knew Renoir well at this time, wrote a review of Dance at le Moulin de la Galette in the journal L'Iimpressionniste which accompanied its exhibition. The writer referred to Dance at le Moulin de la Galette as a "page of history, a precious and strictly accurate portrayal of Parisian life. " Yet, others were not so kind. Many contemporary critics regarded this canvas as merely a blurred impression of the scene. Known for his pleasant paintings, Dance at le Moulin de la Galette is regarded as one of the happiest compositions in Renoir's oeuvre. Today, it is on display at the Musee d'Orsay in Paris and is one the most celebrated works in the history of Impressionism. Charenton Renoir quote: " Shall I tell you what I think are the two qualities of a work of art?

First, it must be indescribable, and second, it must be inimitable." Renoir was an artist famed for creating joyful paintings that were essentially snapshots of real life, and captured the true spirit of particular scenes. Dance at le Moulin de la Galette was a great example of this. Dance scenes were among Renoirs favorites as they were full of people enjoying themselves. The Moulin de la Galette was one café that the Renoir frequented as it was close to his home and it provided a great theme for his work. Much of Renoirs early work was inspired by his peers and other artists. In 1869 Renoir worked very closely with Monet and both were focused on painting light and water. It was during this time that they developed the technique that became central to Impressionism. They discovered that shadows are not brown or black but are colored by the objects around them, and that the 'local color' of objects is modified by the light and reflections of surrounding objects. At this time, the styles of Renoir and Monet were almost identical but in the 1870s they explored their own methods and worked alone more frequently.

As well as similarities to Monets works, Dance at le Moulin de la Galette shows influences from a range of other artists. In his early career Renoir was greatly inspired by the artistry of Eugene Delacroix, a fellow French man whose work typified 19th-century romanticism. Renoir and the other impressionists were also greatly influenced by Delacroixs technique, which saw him use contrasting colors with small brushstrokes to produce a very vivid effect. Dance at le Moulin de la Galette also emulates the luminosity of Camille Corot. Corot was a key figure in landscape painting and his works referenced Neo-classicalism as well as anticipating the plein-air modernism of Impressionism. Additionally, Renoir admired the realism of Gustave Courbet and Édouard Manet . He was also a great admirer of Degas perception of movement.

Dance at le Moulin de la Galette Analysis Dance at le Moulin de la Galette Pierre-Auguste Renoir Dance at le Moulin de la Galette Pierre-Auguste Renoir Like many of Renoir's early paintings, Dance at le Moulin de la Galette is a snapshot of real life and it captures true Parisian culture. However, this canvas was unique because of its size. It was Renoir's most ambitious figure painting and no artist before him had created a canvas capturing an aspect of daily life of this magnitude. Composition: Like Manet did in La Musique aux Tuileries, Renoir included a number of portraits in Dance at le Moulin de la Galette and the majority of portraits were his friends. By cutting off figures in the piece, Renoir suggests that the scene continued beyond the frame. It seems that his time spent painting plein-air landscapes at Argenteuil prompted him use human beings, especially women, as the focus of this canvas. Renoir uses brightly colored brushstrokes to add movement to the figures as well as depth to this piece. Renoir bathes the figures in sun and shadow, breaking up the composition with patches of light and capturing the vibrancy of the scene.

He blends colors that worked well for him and this results in a painting that is rich in form and with a fluidity of brush stroke. This innovative style and the grand scale of Dance at le Moulin de la Galette is a sign of Renoir's artistic drive. Color Palette: Renoir uses brightly colored brush strokes and opts to blend colors that suit him best. His refusal to use black together with the absence of outlines are traditional Impressionist techniques. Renoir uses patches of soft color and combines this with vibrantly colored figures, to give the impression of speckled light beaming through the trees. He creates the patches of light with soft pinks and purples, while for the figures he uses bolder shades of blue, red, and green for the clothing. Lighting: Renoir's use of light in Dance at le Moulin de la Galette as well as its sketchiness is typically Impressionistic. He bathes the figures in both sun and shadow and spots of natural and artificial light divide the composition and depict the vibrancy of the scene. The sunlight contrasts well with the dark clothing, and Renoir's bright brushstrokes add movement to the painting.

Sunlight filtering through the trees gives Dance at le Moulin de la Galette a cheerful and summery feel as well as a sense of immediacy. Renoir reveals his true talent in this picture. It is a major composition that links the art of collective portrait, still life, and landscape painting. Dance at le Moulin de la Galette Critical Reception Dance at le Moulin de la Galette Related Paintings Moulin de la Galette Henri de Toulouse-Lautrec A popular spot for artists and writers, the Moulin de la Galette was the subject of many paintings during the 19th and early 20th century. Like Renoir, artists such as Picasso and Van Gogh were keen to capture its ambience and joyfulness, though each canvas differs from the next. Below are examples of other works focused on the Moulin de la Galette. Henri de Toulouse-Lautrec, Moulin de la Galette, 1889: Along with Cezanne , Van Gogh, and Gauguin , Toulouse-Lautrec is regarded as one of the greatest painters from the Post-Impressionist period.

Like Renoir, Toulouse-Lautrec was attracted to Montmartre for its somewhat retro feel and its popularity among fellow artists. Toulouse-Lautrec painted the Moulin de la Galette thirteen years after Renoir, but adopted the same angle; people sitting at tables and socializing while couples enjoy the music and dancing in the background. In contrast to Renoir's sunny painting, Toulouse-Lautrec uses darker colors and focuses on being inside by using browns and grays. Toulouse-Lautrec's painting is also different from Renoir's because it does not focus on the faces of the people whereas Renoir painted almost every figure looking directly at the viewer. Thus, this gives the feeling of Renoir's work being more staged. Vincent van Gogh , Le Moulin de la Galette, 1886: Van Gogh completed this painting in 1886 whilst living with his brother in an apartment in Montmartre. Painting outdoors encouraged him to explore the effects of natural light and the result is a luminous palette that departs from his usual subjects of somber tones.

Pablo Picasso, Moulin de la Galette, 1900: Picasso created Le Moulin de la Galette in 1900. In it he paid tribute to French artists such as Toulouse-Lautrec and Steinlen as well as his Catalan compatriot Ramon Casas. Picasso's depiction of lamps burning in darkness and women wearing lipstick portrayed a very different ambience and created a more mysterious canvas than Renoir's. Picasso used more fashionable outfits too. However, like Renoir's creation some 14 years earlier, Picasso's work resembles a stage performance and his figures looked posed. Furthermore, the people in Picasso's canvas are also looking to the viewer. It seems that both Picasso and Renoir cared about the identities of those they painted. Kees Van Dongen, Le Moulin de la Galette, 1904: Van Dongen was a resident of the Bateau-Lavoir in Montmartre and this district became the subject of a number of his works. Picasso also lived there and with a studio next to Van Dongen, the two became firm friends. Van Dongen experimented with his art and his work was seen as moving towards a form of Expressionism.

His scene at the Moulin de la Galette was, according to some, giving way to portraits. Dance at le Moulin de la Galette Artist Renoir is an artist best known for his depictions of pleasant scenes, and curvy women. As a young painter he was influenced by a number of artists and artistic periods and this resulted in him developing an original technique which earned him his reputation as a ´pure impressionist. ´ Renoir painted landscapes, portraits, still life, and modern life. He experimented with new methods throughout his career and dedicated his life to his art. He was the first Impressionist to break away from the movement's ultramodern direction, yet many feel Renoir remained the purest of all the Impressionist painters throughout his career. He made several thousand paintings and their sensuality made his works some of the most famous and frequently-reproduced in the history of art. Dance at le Moulin de la Galette depicted one of Renoir´s favorite subjects - entertainment - and today it is regarded as one of the greatest early paintings of the Impressionist movement.

Dance at le Moulin de la Galette Art Period Renoir, together with his classmates Monet, Sisley, and Bazille established the Impressionist movement. Taking art in a new direction, these young artists experimented with new techniques and were considered radicals of their time because they broke the rules of traditional forms of painting, and worked outside of the studio. Although Impressionism in France began when several other painters were experimenting with plein-air painting, Renoir and his peers developed new techniques that defined the movement; their art was immediate, and it portrayed movement with sincere compositions and vivid colors. Rejected by the Salon, they displayed their works in private exhibitions and gained support for their distinct, modern paintings. Their works were easily identifiable by their use of bright colors, visible brush strokes, and emphasis on light. Their style depicted subjects and landscapes naturally. The public welcomed this original vision although art critics did not. The emergence of Impressionism inspired many other artists of the time and throughout the 19th century and led the way for a variety of other movements, including Neo-impressionism, Post-impressionism, Fauvism, and Cubism.

Dance at le Moulin de la Galette Bibliography Many books have been written about Renoir and this famous painting. Below are a bibliography and a selection of recommended works about this fascinating art genre and one of its leading figures. Bibliography: 10 Most Famous Paintings by Pierre-Auguste Renoir | Learnodo Newtonic 10 Most Famous Paintings by Pierre-Auguste Renoir Posted March 6, 2016 by Anirudh in Top Ten Lists 2500 10 Most Famous Paintings by Pierre-Auguste Renoir Active during the second half of 19th century and early 20th century, Pierre-Auguste Renoir was a prolific French artist who was among the leading painters of the art movement Impressionism. While his earlier artworks exhibit Impressionist qualities of vibrant colours and loose brushwork, he later distanced himself from the movement and drew inspiration from classical art. He is most known for his depictions of women, evolving Parisian society and domestic scenes; as well as nudes and dance paintings.

Know about the art of Pierre-Auguste Renoir by studying his 10 most famous paintings including Impressionist masterpieces Luncheon of the Boating Party and Bal du moulin de la Galette. #10 Two Sisters (On the Terrace) French Title: Les Deux Soeurs (Sur la terrasse) Year: 1881 Two Sisters (1881) Maison Fournaise (House of Fournaise) is a restaurant located on an island in the Seine in Chatou, west of Paris. It serves as the location of not only this panting but another masterpiece by Renoir titled Luncheon of the Boating Party. The elder sister in the painting is Jeanne Darlot, who went on to become an actress. The identity of the younger sister remains unknown through it is stated that she is not related to Jeanne. The title Two Sisters was given to the painting by Renoir while the title On the Terrace was given by its first owner Paul Durand-Ruel. The Umbrellas (1886) This painting depicts a busy street scene in Paris with most people using umbrellas to guard themselves against the rain. The Umbrellas is famous as it shows two phases of Renoir’s artistic career.

It was painted in two parts. Renoir began to work on it around 1881 using the fast brushwork and vibrant shades of Impressionism. He returned to the painting in 1885 when he had lost interest in Impressionism and drew inspiration from classical art. The left side of the painting, particularly the principal female figure, has been painted in a more classical linear style with use of more muted colours. English Title: The Blue Lady Year: 1874 La Parisienne (1874) The model for this famous artwork is Henriette Henriot, an actress at the OdÃ©on theatre. When the painting was first exhibited at the first Impressionist exhibition in 1874, it was described as a failure by critics with one referring to her shoe as a little black mouse. But now it is among Pierre-Auguste Renoir’s most acclaimed paintings. Since becoming part of the collection of the National Museum of Wales in 1952, La Parisienne is one of the most iconic and popular exhibits of the museum; and has become one of Wale’s most prized artworks.

#7 Girls at the Piano French Title: Jeunes filles au piano Year: 1892 Young Girls at the Piano (1892) Domestic scenes featured regularly in Renoir’s later works and young women playing the piano was a recurring and favourite subject for him. Renoir was invited by the French government to execute a painting for the MusÃ©e du Luxembourg and this masterpiece was a result of this commission. Renoir took extreme care for the project developing and refining the composition in a series of five canvases. Girls at the Piano, in which Renoir masterfully depicts an intimate and engaging scene in a middle class household, is considered the most successful in his series of artworks on domestic life. #6 Madame Georges Charpentier and Her Children French Title: Madame Georges Charpentier et ses enfants Year: 1878 Madame Georges Charpentier and Her Children (1878) A wealthy publisher Georges Charpentier and his wife MarguÃ©rite took great interest in the art of Renoir. Georges commissioned this painting and it was displayed at the Salon in 1879. It was a breakthrough work for Renoir and brought him much attention and critical admiration.

In the painting MarguÃ©rite Charpentier sits beside her three-year-old son Paul. Paul is dressed identically to his sister Georgette, perched on the family dog. French Title: Bal Ã Bougival Year: 1883 Dance at Bougival (1883) Along with Dance in the City and Dance in the Country, this painting is part of a set of three paintings commissioned by Paul Durand-Ruel, one of RenoirÂ´s greatest supporters. A primary attraction of Boston’s Museum of Fine Arts, it depicts two of Renoir’s friends, Suzanne Valadon and Paul Auguste Llhote. The panting shows the two waltzing and locked in a passionate embrace. It is considered one of Renoir’s first reversions to a more classical style of painting. Dance at Bougival is the most renowned of Renoir’s famed trio of 1883 dance paintings. #4 La logeÂ Â Â Â Â Â English Title: The Theatre Box Year: 1874 La Loge (1874) This painting was Pierre-Auguste Renoir’s main exhibit at the first Impressionist exhibition in April 1874.

It depicts a fashionable couple seated in the best seats at the theatre. Like many Impressionists, Renoir uses the loge to capture the changing nature of fashionable Parisian society but adds mystery through his narrative. The elegantly dressed woman has lowered her opera glasses possibly to reveal herself to admirers in the theatre while her companion raises his binoculars presumably to get a closer look at a beautiful woman. La loge is considered one of the masterpieces of Impressionism and is a major highlight of The Courtauld Gallery’s collection. English Title: The Large Bathers Year: 1884 – 1887 Les Grandes Baigneuses (1887) In the latter part of his career, Renoir concentrated on monumental nudes and domestic scenes. In this painting, which depicts a scene of nude women bathing, he gives a sculptural quality while the landscape behind them shimmers with impressionistic light. The models for the painting include his future wife Aline Charigot, the blonde sitting behind, and painter Suzanne Valadon, in the foreground.

Renoir spent three years in perfecting Les Grandes Baigneuses and the masterpiece is the most renowned of Renoir’s late, abundantly fleshed nudes. #2 Luncheon of the Boating Party French Title: Le dejeuner des canotiers Year: 1880 – 1881 Luncheon of the Boating Party (1881) Among the most famous paintings of not only Renoir but of the entire Impressionist movement, Luncheon of the Boating Party is known for its richness of form and masterful use of light. In it Renoir uses elements of design like balance and harmony; and rich colours characteristic of Impressionist style. The painting is a romanticized portrait of Renoir’s friends enjoying an afternoon on a balcony along the Seine River. Among them are Renoir’s future wife Aline Charigot and another famous Impressionist painter, Gustave Caillebotte. Actor Edward G. Robinson said that for thirty years he periodically visited this masterpiece and stared at it, thinking of ways to steal it.

#1Â Â Dance at Le moulin de la Galette French Title: Bal du moulin de la Galette Year: 1876 Dance at Le moulin de la Galette (1876) This painting depicts a typical Sunday afternoon at Moulin de la Galette in the district of Montmartre in 19th Century Paris. Moulin de la Galette was an open-air dancehall and cafÃ©, close to Renoir’s home and one he frequently visited. Pierre-Auguste Renoir reveals his true talent in the painting linking the art of collective portrait, still life, and landscape painting. His use of light as well as his fluidity of brushstrokes is typically Impressionistic. The canvas of the painting was unique as no artist before Renoir had created an image capturing an aspect of daily life of this magnitude. Bal du Le moulin de la Galette is one of Impressionism’s most celebrated masterpieces and has been described as “the most beautiful painting of the 19th century”. As of February 2016, a smaller version of this painting by Renoir stands at 13th place on the inflation adjusted list of the most expensive paintings ever sold.

Pierre-Auguste Renoir Prints, Posters & Paintings Michelangelo Pierre-Auguste Renoir Pierre-Auguste Renoir was a French artist who was a leading painter in the development of the Impressionist style. Renoir’s famous paintings include Bal du moulin de la Galette, Luncheon of the Boating Party, and The Theatre Box. You can see all the famous Renoir paintings below, and learn more about Pierre-Auguste Renoir underneath. Renoir’s early works were typically Impressionist snapshots of real life, full of sparkling colour and light. By the mid 1880s, however, he had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women, such as The Bathers, which was created during 1884–87. It was a trip to Italy in 1881, when he saw works by Raphael and other Renaissance masters, that convinced him that he was on the wrong path, and for the next several years he painted in a more severe style, in an attempt to return to classicism. This is sometimes called his “Ingres period”, as he concentrated on his drawing and emphasized the outlines of figures.

French impressionist Renoir counts Bal du moulin de la Galette, 1876, Luncheon of the Boating Party ,1880 & Nude (painting), 1910 amongst his greatest paintings. One of the best known Impressionist works is Renoir’s 1876 Dance at Le Moulin de la Galette (Bal du moulin de la Galette). The painting depicts an open-air scene, crowded with people, at a popular dance garden on the Butte Montmartre, close to where he lived. Renoir’s paintings are liked for their attention to bright color and light which was unique at the time and they also most often focused on people in intimate and personal compositions. This helped Renoir’s paintings to gain unique charm. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of color, so that his figures softly fuse with one another and their surroundings. Renoir made an incredible figure of some several thousand paintings. The warm sensuality of Renoir’s style made his paintings some of the most well-known and frequently-reproduced works in the history of art.

The single largest collection of his works —181 paintings in all— is at the Barnes Foundation, near Philadelphia, Pennsylvania. Leave a Reply 1000+ images about Renoir Paintings on Pinterest | The theatre, Oil painting on canvas and Artworks Forward Renoir | Girls at the Piano - Direct Art Australia, Price: $199.00, Availability: Delivery 10 - 14 days, Shipping: Free Shipping, Minimum Size: 50 x 60 cm, Maximum Size : 100 x 150 cm, Call us on 1300 90 21 53 and talk to your friendly art customer service representative. See More Pierre-Auguste Renoir: Impressionist Painter: Biography, Paintings Pierre-Auguste Renoir It is the most expensive example of Impressionist painting ever La Loge (1874) Courtauld Institute. By Renoir. Introduction Pierre-Auguste Renoir was one of the greatest and prolific exponents of French Impressionism . With his 'rainbow palette' he painted over 6,000 oil paintings of women, children, flowers and fields.

He worked with several other Impressionists, notably his close friend Claude Monet , with whom he practised plein air painting and the capture of light and its effects on nature. He tended to use heavy impasto and rather dark colour, but after working with Monet in 1868, his colour-palette became lighter, and slowly he mastered the ability to paint the shimmering colour and flickering light of outdoor scenes, becoming the greatest painter of 'dappled light' in the history of art . See for instance his masterpiece The Swing (La Balancoire) (1876, Musee d'Orsay, Paris). Portrait of Madame Charpentier Metropolitan Museum of Art, New York. By Renoir. For a list of the finest modernist pictures, by the most famous artists most famous landscape paintings . He exhibited in 4 out of 8 Impressionist exhibitions, most of which were not well received by the art critics , and while his painting rarely reveals the introspective gravitas of Monet or Cezanne, it illustrates a superb touch and sense of colour.

He was also a founding member of the publication entitled The Impressionist (L'Impressionniste) (1877), in which he published his ideas on the principles of contemporary art. Renoir's greatest paintings include: Young Boy with a Cat (1868, Musee d'Orsay); The Box at the Opera (La Loge) (1874, Courtauld Institute, London); Le Moulin de la Galette (1876, Musee d'Orsay); The Swing (1876, Musee d'Orsay); Portrait of Madame Charpentier and her Children (1879, Metropolitan Museum); Luncheon of the Boating Party (1880-1, Phillips Collection, Washington DC); Les Grandes Baigneuses (The Bathers) (1884-7, Philadelphia Museum of Art); and Les Baigneuses (c.1918, Musee d'Orsay). See also: Best Impressionist Paintings . MODERN PAINTERS Top 10 Most Expensive Paintings .

Early Days, Porcelain-Painting Apprenticeship, Gleyre's Studio Born the sixth of seven children into a poor family in Limoges - his father was a tailor - Renoir moved to Paris when he was three. Early on he displayed a gift for drawing, prompting his parents to apprentice him to a porcelain-painter in 1854. Here Renoir remained for four years, attending classes in the evening at a school for decorative art in the Rue des Petits Carreaux. When the porcelain-painter's workshop closed down, Renoir was employed by his brother, an engraver of medals, to colour coats-of-arms. He went on to decorate fans with pictures of gallants and their ladies, and subsequently painted blinds and awnings. Eventually he saved a little money and was able to devote all his time to fine art painting .

Renoir used his earnings to enter the Ecole des Beaux Arts (1862-64), and also became a pupil at Charles Gleyre's studio, where he met Frederic Bazille (1841-70), Claude Monet (1840-1926) and Alfred Sisley (1839-1899). Together they went plein air painting in the forest of Fontainebleau, and it was here, in 1863, that Renoir met the Bordeaux painter Narcisse Diaz (1807-76) who advised him to lighten his palette. Luncheon of the Boating Party (Le Dejeuner des Canotiers) (1881) Phillips Collection, Washington DC. Early Paintings Renoir's first submission to the Paris Salon in 1864, Esmeralda Dansant avec Sa Chevre (Esmeralda Dancing with her Goat), was accepted, but later Renoir destroyed the painting, thinking it too sombre and academic.

He then fell deeply under the influence of the great French realist Gustave Courbet (1819-77), having met him at Marlotte near Fontainebleau. This influence is evident in his first large-scale composition, Auberge de la Mere Anthony (The Inn of Mere Anthony) (National Museum of Stockholm), rejected by the Salon in 1866, and also in one of his first nudes Diane Chasseresse (Diana the Huntress) (1867, National Gallery of Art, Washington), rejected by the Salon in 1867. Meanwhile Renoir was painting portraits to good effect, catching the sitter's personality: Bazille (1867, Musee d'Orsay), those of the Sisley Family (1868, Wallraf-Richartz Museum, Cologne ) and the Femme a l'Ombrelle (Woman with a Parasol) (1867, Folkwang Museum, Essen), hung in the Salon in 1868. Other notable works include Young Boy with a Cat (1868, Musee d'Orsay).

Impressionism However, it was Impressionism that was to free Renoir from these various influences. From 1869 when he painted La Grenouillere (Winterthur, Oskar Reinhart Foundation) in company with his close friend Claude Monet, he became obsessed with the study of reflections on water, and began adding small accents of colour to replace the drawing. The two painters continued along these lines after 1870 at Argenteuil, where they painted regattas and a variety of landscapes. But Renoir, unlike his friends, had not abandoned the human form, to which he also tried to apply Impressionist principles.

(Note: to understand more about Renoir's landscape art, see: Characteristics of Impressionist Painting 1870-1910.) He was comparatively successful with Parisian Women Dressed as Algerians (1872, National Museum of Western Art, Tokyo), in which he was obviously influenced by Eugene Delacroix (1798-63), and with his Cavaliers au bois de Boulogne (Horsemen in the Bois de Boulogne) (1872, Hamburg Museum), rejected by the Salon in 1873 but shown at the Salon des Refuses . His true brilliance emerged only in Madame Monet Reclining on a Sofa (1872, Gulbenkian Foundation, Lisbon) and in La Loge (The Box at the Opera) (1874, Courtauld Institute, London) as well as La Danseuse (The Dancer) (1874, National Gallery of Art, Washington), the two latter paintings being shown with four other canvases and a pastel at the first Impressionist Exhibition.

Other exhibitors included Monet, Sisley, Eugene Boudin (1824-98), Cezanne (1839-1906), Berthe Morisot (1841-95), Edgar Degas (1834-1917) and Camille Pissarro (1830-1903). Impressionist Portraiture After this Renoir's development quickened, and from 1876 he applied his Impressionist skills to portrait art , with which he was again successful, showing 15 paintings at the second Impressionist Exhibition in 1876. This was a lucky year for Renoir. He rented a studio in the Rue Cortot in Montmartre where he produced some of his most famous works, such as Le Moulin de la Galette (in 1990, this work sold for $78 million), La Balancoire (The Swing), Torse de femme au soleil (Nude in Sunshine) (all in the Musee d'Orsay, Paris), and Sous la Tonnelle (Under the Arbour) (Puskin Museum, Moscow).

In all these different canvases, which he exhibited in 1877 at the third Impressionist Exhibition, Renoir aimed at capturing the effect of light filtering through trees on to figures in the shade (which, the critics said, make them resemble corpses). It was also at this time that Renoir became acquainted with the publisher Georges Charpentier and was frequently invited to his glittering salon, where he met the leading political, literary and artistic figures of the day. To earn a living he had to undertake many commissions, including works of decorative art and a number of portraits of mothers with their children: Madamoiselle Georgette Charpentier (1876, private collection); Child with a Watering Can (1876, National Gallery of Art, Washington); Madame Georges Charpentier (1876-7, Musee d'Orsay); Portrait de Madamoiselle Jeanne Samary (1878, Hermitage), and the magnificent Portrait de Madame Charpentier et de ses Enfants (1879, Metropolitan Museum of Art, New York).

These last two portraits were shown at the 1879 Salon, Renoir refusing to show at the fourth Impressionist Exhibition, no doubt in the belief that this would compromise his success with Parisian society, which accepted him as a brilliant portraitist. He displayed less worldliness but equal brilliance in his paintings of the habitues of small suburban bistros and in his Portrait d'Alphonsine Fournaise (1879, Musee d'Orsay). He took no part again in the fifth Impressionist Exhibition of 1880, showing instead two canvases at the Salon, La Femme au Chat (Woman with a Cat) (1880, Williamstown, Clark Art Inst.) and Fishing for Mussels at Berneva (1879, Merion, Barnes Foundation). These were painted during a holiday at Wargemont, near Dieppe, where he was staying with the diplomat Paul Berard, whose guest he often was during the summer. It was perhaps this double life, both fashionable and commonplace, that prompted him to go to Algeria for a time for a rest, from the beginning of March to 15th April 1881.

He returned with several portraits of Algerian women and vividly coloured landscape painting : Fields of Banana Trees, Ravine of the Wild Woman, Arab Fete at Algiers (all Musee d'Orsay). 1883-1887: The 'Harsh Style': Break with Impressionism On returning to France, Renoir suffered a breakdown and, at the end of October 1881, went to Italy for several months. He stayed in Milan and Venice, where he produced several paintings of gondoliers and of the Basilica of St Mark, before going on to Florence and Rome. The art of Raphael came as a revelation which was to influence his style from then on, and which led to what he called his 'maniere aigre' or 'harsh style'. It could equally well be termed his Ingres period, where drawing took precedence over colour and his painting shows a sharper definition of form.

This ascendancy of drawing (in effect disegno ) is already evident in Les Parapluies (The Umbrellas) (c.1879, National Gallery, London) as well as in La Baigneuse Blonde (The Blonde Bather) (1881, Clark Art Institute, Williamstown) but it was not until 1883 that the new method reached its peak. During this same Italian visit Renoir went to Naples and Pompeii and stayed in Sicily long enough to produce a hasty portrait of Richard Wagner (1882, Musee d'Orsay). On his return to France he stayed at L'Estaque where he worked with Paul Cezanne, then departed again for Algeria (March-April 1882). Meanwhile the seventh Impressionist Exhibition was held in Paris, with 25 paintings by Renoir, including his Dejeuner des Canotiers (The Luncheon of the Boating Party) (1880-1) - purchased by the art collector Duncan Phillips for the Phillips Collection, Washington - in which he portrayed Aline Charigot, his future wife.

1883 Exhibition In April 1883, a successful one-man show organized by Paul Durand-Ruel (1831-1922) on the Boulevard de la Madeleine established him financially, and it was from this time that his compositions began to change. Where his early works encompassed portraits and Impressionist landscape painting , as well as genre-painting featuring groups of figures in cafes, dance-halls, boats, or riverside scenes, his later works are largely concerned with female nudes or semi-nudes. From hereon, his artistic sensuality, and his admiration of the Italian Renaissance painters separated him from the primary concern of impressionism - to imitate the effects of natural light. During the Ingres period Renoir continued to paint the human form: Danse a Bougival (1883, Boston Museum of Fine Arts); Danse a la Ville (1883) and Danse a la Campagne (1883; both Paris, Durand Ruel Collection).

He also painted landscapes and seascapes during his many trips to the Channel Islands (September 1883), the Normandy and Brittany coasts, the Cote d'Azur and La Rochelle (summer, 1884). The most representative work in the maniere aigre remains Les Grandes Baigneuses (The Bathers) (1884-7, Philadelphia Museum of Art), inspired by Girardon's Bain de Diane (Diana's Bath) (Versailles). The canvas was painted in the studio and Renoir prepared for it with numerous studies, drawings, and sketches in both crayon and sanguine (Nice Museum; Musee d'Orsay). NOTE: Compare Cezanne's Large Bathers (Les Grandes Baigneuses) (1894-1905, National Gallery, London; Museum of Art, Philadelphia; Barnes Foundation, Merion, PA) with the work by Renoir. 1888-1919: Years of Illness, Last Masterpieces Renoir went through another period of depression in the autumn of 1888.

Finding his compositions too dry he destroyed many of his canvases and adopted a new method called the 'pearly' method, gradually giving up his linear style to make the most of a more supple technique based on half-tones of pink and white: Les Jeunes Filles au Piano (Young Girls at the Piano) (1892, Metropolitan Museum, New York). In 1890, at the age of 49, he married Aline Victorine Charigot with whom he had already had a child, Pierre, in 1885. Towards the end of his life Renoir used mainly professional models, except for his servant Gabrielle. Almost all the nudes he painted bore the title 'Bather': Baigneuse Assise sur un Rocher (Bather Seated on a Rock) (1892, Paris, private collection); Sleeping Bather (1897, Oskar Reinhart Foundation, Winterthur); Bather Letting down her Hair (c.1904-6, Kunsthistorisches Museum, Vienna); Bather with Long Hair (Musee d'Orsay, Paris).

The artist's sensuousness has never been more beautifully expressed than in his portrayals of these buxom Rubenesque young women with their soft pearly flesh. At the same time he extended his range to include pictures of children, but not only those of the well-to-do. Renoir painted his own sons, Pierre (b.1885), Jean (b.1894), but mostly Claude, called Coco (b.1901), in spontaneous poses taken from everyday life: Gabrielle et Jean (1895, Musee d'Orsay, Paris); La Lecon de lecture de Coco (Coco's Reading Lesson) (c.1906, Barnes Foundation, Merion). Cagnes-sur-Mer From 1903, Renoir fought the encroaching paralysis of arthritis just when his work attained its greatest visual power. In 1907, he moved to the warmer climate of Cagnes-sur-Mer, close to the Mediterranean. He developed progressive deformities in his hands and ankylosis of his right shoulder, requiring him to adapt his painting technique. From then on a certain change in his work became apparent.

The figures that he painted in his untended garden, planted with olive trees, had a sculptural quality, while red became the dominant colour, increasing in strength with the artist's approach to old age. It was also the predominant colour in his still life painting : Les Fraises (Strawberries) (Bordeaux Museum); Nature Morte aux Pommes (Still Life with Apples) (Nice Museum); Roses dans un Vase (Roses in a Vase) (Musee d'Orsay). Most of these works were small in size. One of the painter's peculiarities at this time was his habit of painting many different subjects, all very small, on the same canvas. The minute studies to be found on the market are often pieces from canvases that have been cut up. In his last years, Renoir saw a good deal of Henri Matisse (1869-1954) who lived nearby, and was interested in and sympathetic to the ideas behind Fauvism . By now Renoir's hands were completely paralysed by arthritis and his brushes had to be placed between his fingers. Yet, his creative genius was as strong as ever.

Encouraged by the art dealer Ambroise Vollard (1866-1939) to try lithography and engraving , Renoir made several portraits of him, and took up sculpture with the same verve, being helped by his assistants, who modelled the clay, adding or removing it as Renoir directed. About 15 pieces of sculpture were cast, among them Venus Victrix (Maison des Collettes, Cagnes), Le Jugement de Paris (1914, Musee d'Orsay), and The Large Washerwoman (1917, bronze, Musee d'Orsay). Included in the intensely active period at Cagnes, where Renoir worked mostly on small pictures, Les Baigneuses (The Bathers) (c.1918, Musee d'Orsay) is exceptional. It is one of his last great compositions before his death, in Cagnes, at the age of 78. Collections Renoir worked far more quickly than other Impressionist painters and his pictures from the beginning were eagerly sought after. As a result they are to be found in many of the best art museums all over the world.

The most important holdings are in the Musee d'Orsay Paris , and also the Metropolitan Museum of Art in New York, the National Gallery in Washington, the Barnes Foundation in Merion, the Clark Art Institute in Williamstown (U.S.A.) and the Hermitage, St Petersburg. Among the many artists influenced by Renoir was the Norwegian landscape artist P.S. Kroyer (1851-1909). Bal au Moulin de la Galette - Most Expensive Impressionist Picture In 1990, this masterpiece of Renoir's was sold at Sotheby's in New York for $78.1 million, making it the most expensive work of Impressionism ever sold at auction. It famously depicts a Sunday afternoon dance in Montmartre and showcases the artist's unique skill in being able to reproduce dappled light, which infuses the whole work with a soft-focus quality. It has a 'sister' version, a larger canvas which hangs in the Musee dOrsay, in Paris. For more, see: Most Expensive Paintings: Top 20 .  For more biographies of great painters, see Famous Painters .

 For more about French Impressionism, see: Homepage . ENCYCLOPEDIA OF VISUAL ARTISTS Dance at Le moulin de la Galette | Oil Painting Blog Dance at Le moulin de la Galette Posted on February 4, 2013 by artisoo Dance at the Moulin de la Galette, or known as The Ball at the Moulin de la Galette is one of the Impressionism period most remarkable painting, painted in 1876 by the famous French artist Pierre-Auguste Renoir (25th February 1841- 3rd December 1919). The painting depicts a typical Sunday afternoon at Moulin de la Gelette in the district of Paris. In the last decades of 19th century, the Molulin de la Gelette was a popular dancing garden, where was full of working class people dancing and drinking, especially on Sundays. There were many people on this painting, some of them were dancing, some were chatting under the green leaves, and some were siting on the benches with food and drink. Their joy can be easily transferred to the audience from the smile on their face.

Dance at the Moulin De La Galette As the famous work of Pierre-Auguste Renoir, Dance at the Moulin de la Galette is no doubt a shadow of real life. Through the panting, Renoir expresses the pleasure of dancing, drinking, and the leisure in the open air, with sunlight on a normal summer Sunday afternoon. The painting was created in the 1876, and bought by a French painter Gustave Caillebotte (19th August 1848- 21st February 1894) who is also a member of the Impressionists in the 1879. When Caillebotte died, the painting became the property of the French Republic. From 1896 to 1929, the painting hung in the Musee du Luxembourg in Pairs. And then hung in the Musee du Louvre from 1929 until it was transferred into the Musee d'Orsay in 1986.

Pierre-Auguste Renoir Style and Technique | artble.com Pierre-Auguste Renoir Style and Technique Full Name: Style Introduction Renoir´s works are easily identifiable by their use of bright colors, light-hearted subjects, and bold lines. Committed to pursuing his own style and with a dislike for traditional forms, Renoir collaborated with fellow students Monet, Sisley, and Bazille, and together they founded the Impressionist movement. Their style depicted subjects and landscapes naturally and painting was often held outdoors, which was considered somewhat radical. Pierre-Auguste Renoir Style Pierre-Auguste Renoir Early Years: In his early career, Renoir spent a great deal of time sketching on the Seine river banks at Asnières, Argenteuil, and Chatou with his friend and fellow Frenchman Claude Monet. It was during these meetings that the two young artists developed their famous technique and experimented with the bright colors that later became central to Impressionism. It was also during this time of practicing painting light and water in the open air that Renoir and Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them.

Renoirs early works captured real life scenarios and their themes were always pleasant and non-serious. Renoir was quoted as saying Why shouldn't art be pretty?, there are enough unpleasant things in the world. A master of depicting facial expressions, Renoir tended to paint youthful portraits of his associates, most of whom were artists and writers. Renoirs technique of broken brush strokes was combined with brash colors to portray the light and movement of the subject. He was greatly inspired to paint figures, particularly of women. A great worshipper of the female form, Renoir said I never think I have finished a nude until I think I could pinch it. ' With larger compositions, Renoir succeeded in assembling several figures in one frame and his compositions were complex and demanded several revisions. Middle Years: Its believed that Renoir used just five colors in his palette and his time as a porcelain painter taught him how to combine different colors well. Impressionism was very much defined by its use of light colors and it was a style based on quick brush strokes but a trip to Italy introduced Renoir to the work of the Renaissance artists Raphael, Velazquez, and Rubens and this inspired him to change his technique and experiment with a more decorative and traditional style.

Consequently, his subsequent paintings became more linear. He started using bold lines to outline his objects and black to provide contrast and he focused less on brush strokes and blending colors and more on form and contours. The resulting works resulted in what art historians call Renoir's "dry" or "Ingres period" because he accentuated the outlines of his figures. His painting The Large Bathers (Les Grandes Baigneuses) is a good example of this new style and he invested a great deal of time perfecting this piece. Experimenting with a more classical approach later in his career, Renoir developed his own unique style which fused his sunny, optimistic outlook with bold, contrasting lines. This style dominated the rest of his works, most of which focused on nude women. As his new style became more distinguished and austere, Renoir also created canvasses which depicted mythological subjects, such as The Judgment of Paris, and his female subjects became more voluptuous. Advanced Years: After 1890, Renoirs work moved in a new direction yet again. He returned to using thin brush strokes and became less concerned with outlines, preferring a more sketchy approach.

This period saw Renoir concentrate on epic nudes and domestic scenes and examples of this work include Girls at the Piano and The Large Bathers (Grandes Baigneuses). The latter is the most characteristic and successful of Renoir's later offerings. Renoir's style encompassed open-air landscapes, family scenes, and monumental portraits such as The Luncheon of the Boating Party . His subjects were always light-hearted and he enjoyed painting portraits that were brimming with life, sunlight, and realism. A worshipper of the female figure, much of Renoirs later paintings centered on nude, buxom women. Renoir very much indulged in art and dedicated his life to it. In his late career, Renoirs style changed again and he opted for stronger colors - often reds and oranges - and thick brush strokes. The female nude was a favorite subject of Renoirs and he depicted details of the scene through freely-brushed spots of color which fused his figures and their surroundings. In 1887, Renoir completed a series of studies of a group of nude female figures known as The Bathers.

Such works are unique in the history of modern painting for their representation of feminine grace, and they show Renoirs ability to capture the soft and pearly texture of skin. Renoir's paintings are characterized by their use of vibrant light, and the artist used this masterfully, portraying his subjects both vividly and spontaneously. The painting Bal au Moulin de la Galette is a great example of Renoirs technique and is a renowned Impressionist painting. Pierre-Auguste Renoir Page Menu 1000+ images about Art/Renoir on Pinterest | Terrace, The thinker and Crocheting Pierre-Auguste Renoir, 1841-1919, Two Sisters (On the Terrace) Art Institute, Chicago See More Gustave Caillebotte: Impressions Of A Changing Paris : NPR The Art Institute of Chicago In the 1870s, an emperor and a baron undertook the remaking of Paris: Napoleon III and Baron Georges-Eugene Haussmann's urban renewal project converted clusters of medieval warrens into the Paris we know today, with its grand boulevards and rows of handsome buildings.

Impressionist painters showed that new Paris on their canvases — but one of them had a very different perspective. Gustave Caillebotte's best-known work, Paris Street: Rainy Day (above), painted in 1877, shows a vast cobblestone street, stretching out in front of looming, wedge-shaped buildings. The street is dotted with dark umbrellas that shelter top-hatted men, and women in long skirts — all looking vague and a little disoriented. That was a major subject of Caillebotte's: What the modernization of Paris was doing to its people. Many of Caillebotte's paintings depict the modernization of Paris. In his 1876 painting, Le Pont de l'Europe, pedestrians on a new bridge are engulfed by steel girders. Comite Caillebotte hide caption toggle caption Comite Caillebotte Many of Caillebotte's paintings depict the modernization of Paris. In his 1876 painting, Le Pont de l'Europe, pedestrians on a new bridge are engulfed by steel girders.

Comite Caillebotte "They seem to be quite alone," says Nicolas Sainte Fare Garnot, curator of the Jacquemart-Andre Museum. "Every person is lost in a very wide world." The Jacquemart-Andre Museum, which is featuring an exhibition of Caillebotte's work , is located on Boulevard Haussmann — a broad and busy thoroughfare where, in the 1870s, wealthy Parisians built their mansions. (The museum was once the home of banker Edouard Andre and his wife, Nelie Jacquemart.) Caillebotte lived just down the street, and painted what was happening to Paris when Baron Haussmann was remaking it. In Caillebotte's paintings, men leaning on new bridges seem engulfed by steel girders. Others stand on balconies, looking down at the Boulevard Haussmann — above, yet somehow dwarfed by, the street. "Modern life doesn't create close relations between human beings," Garnot says. "You are [in] complete loneliness in these new buildings, new avenues, new boulevards.

There's something quite sad about that." Article continues after sponsorship In Caillebotte's 1880 work, Un Balcon, two men gaze down at Boulevard Haussmann below, yet still appear dwarfed by the street. Comite Caillebotte, Paris hide caption toggle caption Comite Caillebotte, Paris In Caillebotte's 1880 work, Un Balcon, two men gaze down at Boulevard Haussmann below, yet still appear dwarfed by the street. Comite Caillebotte, Paris Caillebotte's contemporaries — Renoir, Monet, Sisley, Pissaro — also put this "modern" Paris in their paintings. But theirs is a Paris peopled by happy dancers, or sociable boaters, or busy shoppers, or flag-waving parade marchers. "They just wanted to show pleasant persons or fun activities," Garnot says, "not the kind of loneliness that you find [in Caillebotte.]" It's Caillebotte's perspectives — his wide-angled, panoramic views — that shade the paintings with sadness. The zooming angles and thrusting spaces are daring, compelling, dramatic and totally original.

Not himself an Impressionist, Caillebotte loved what those painters and others were doing. He befriended them — Manet, Monet, Renoir, Sisley, Pissaro and Cezanne — at local cafes. Garnot says Manet had the habit of receiving friends at the Cafe Guerbois. Caillebotte decided to do the same thing — hosting the artists once a week. Caillebotte didn't just wine and dine his artist friends — he loaned them money (in fact, he paid the rent on Monet's studio for a while.) And most importantly, he bought their paintings for top dollar. Caillebotte was very wealthy; his father had made a fortune supplying Napoleon's army with uniforms, bedding and other materials. Gustave inherited that fortune at age 26. Enlarge this image Caillebotte painted this self-portrait in 1879 at age 31. In the background, he has placed Dance at Le moulin de la Galette, painted three years earlier by his friend Pierre-Auguste Renoir.

(See that painting by Renoir below.) Comite Caillebotte, Paris hide caption toggle caption Comite Caillebotte, Paris Caillebotte painted this self-portrait in 1879 at age 31. In the background, he has placed Dance at Le moulin de la Galette, painted three years earlier by his friend Pierre-Auguste Renoir. (See that painting by Renoir below.) Comite Caillebotte, Paris "He wanted to help the Impressionist painters," Garnot says. "So he purchased about 64 paintings from Monet, Renoir, Sisley, Pissaro and all the others." Two Manets, A Makeover And A Mystery One of the paintings in the Jacquemart-Andre show is a self-portrait Caillebotte made early in his painting life. He started painting relatively late, at age 27, and only lived to 45. In this 1879 self-portrait, he's 31 years old and seated at an easel in his apartment. Behind him on the wall hangs a painting that is now considered one of the greatest Impressionist works.

It's Renoir's 1876 Dance at Le moulin de la Galette. Renoir shows a sun-dappled crowd of convivial partiers, dancing, drinking and schmoozing. Caillebotte was the first owner of this Renoir masterpiece, and reproduced it in his own self-portrait — as a salute. He was a nervy painter, but not a professional one — and he didn't really have to be. Caillebotte had loads of money and didn't need to make his living from art. The 500 or so paintings he created stayed in his family. In part, that's why he's less well-known than his great painter pals. Caillebotte's pictures weren't in museum collections, and he didn't get serious attention until the 1960s. But because he was a great patron of the arts, Caillebotte's first-rate art collection became what today is the crux of the Impressionist holdings at the Musee d'Orsay in Paris. Although for a while, he (or his executors) couldn't even give the paintings away. "It's a pity," Garnot says.

"When he offered all [of] the collection to the French state, the minister of fine arts wasn't pleased at all by the donation. He refused it. He turned them away." At the time, the custom was for the state to only accept works by dead painters. But that wasn't the only reason the paintings were rejected by the state: "You must understand," Garnot says, "that they didn't appreciate ... the style." Critics of the day felt the Impressionist works looked hasty, crude and unfinished. There was no place for them in prestigious, official French collections. Caillebotte died in 1894. Seven years later, after much bickering, wrangling and negotiation, 40 of the 60 paintings in his bequest of Impressionist treasures were accepted by the government of France. Now, more than a century later, the names Renoir, Monet, Sisley — and, yes, Gustave Caillebotte — have become part of the Pantheon of French painting.

Question: Dance at Le Moulin de la Gazette and Umberellas are famous works by which painter?
Answer: PIERRE-AUGUSTE RENOIR