&w=3840&q=75)
&w=3840&q=75)
&w=3840&q=75)
&w=3840&q=75)
&w=3840&q=75)
&w=3840&q=75)
Pierre-Auguste RENOIR (1841-1919)
Study for the framing of the portrait of Madame de Galéa, detail of the frieze (Les Narcisses), ca. 1915
Oil on canvas, marked with the Vollard stamp on the back and annotated Renoir
17.5 x 22.5 cm
6 7/8 x 8 7/8 in.
The Wildesntein Plattner Insitute, to whom a request for research in the archives was made, confirms having found the image of this work under the reference Etude pour l'encadrement du portrait de Madame de Galéa, détail de frise (Les Narcisses).
PROVENANCE
Ambroise Vollard (acquired from the artist)
Edouard Jonas (by descent from the previous owner)
Private collection, France (gift from the previous owner)
BIBLIOGRAPHY
Ambroise Vollard, Paintings, Pastels and Drawings by Pierre-Auguste Renoir, Alain C. Mazo, Paris, 1918, vol I, n° 615 p. 156, repr. B&W
Guy-Patrice and Michel Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Bernheim Jeune, Paris, 2014, vol V, no 4059F, p. 252, repr. B&W
PIERR E-AUGUSTE RENOIR
Having opened his first Paris gallery in 1893, Ambroise Vollard, a visionary art lover and dealer, represented the great figures of Impressionist and avant-garde art. All the famous artists of this period, such as Gauguin, Matisse and Cézanne, and of course Renoir, were the object of his attention. This work comes from the collection of this famous dealer, who was the first to establish proper contracts with artists, guaranteeing them a regular purchase of their works. These two white flowers, narcissi, were part of a study for the frieze framing the portrait of "Madame de Galéa à la méridienne" painted in 1912. This aristocratic art lover was one of the painter's recurrent models from 1912 to 1915, when he was living in Cagnes. This is a very interesting summary of Auguste Renoir's world and his pictorial technique. Indeed, we find in this sample the touch so characteristic of the father of Impressionism, marked by the light, the form absorbed by the color.
Study for the framing of the portrait of Madame de Galéa, detail of the frieze (Les Narcisses), ca. 1915
Oil on canvas, marked with the Vollard stamp on the back and annotated Renoir
17.5 x 22.5 cm
6 7/8 x 8 7/8 in.
The Wildesntein Plattner Insitute, to whom a request for research in the archives was made, confirms having found the image of this work under the reference Etude pour l'encadrement du portrait de Madame de Galéa, détail de frise (Les Narcisses).
PROVENANCE
Ambroise Vollard (acquired from the artist)
Edouard Jonas (by descent from the previous owner)
Private collection, France (gift from the previous owner)
BIBLIOGRAPHY
Ambroise Vollard, Paintings, Pastels and Drawings by Pierre-Auguste Renoir, Alain C. Mazo, Paris, 1918, vol I, n° 615 p. 156, repr. B&W
Guy-Patrice and Michel Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Bernheim Jeune, Paris, 2014, vol V, no 4059F, p. 252, repr. B&W
PIERR E-AUGUSTE RENOIR
Having opened his first Paris gallery in 1893, Ambroise Vollard, a visionary art lover and dealer, represented the great figures of Impressionist and avant-garde art. All the famous artists of this period, such as Gauguin, Matisse and Cézanne, and of course Renoir, were the object of his attention. This work comes from the collection of this famous dealer, who was the first to establish proper contracts with artists, guaranteeing them a regular purchase of their works. These two white flowers, narcissi, were part of a study for the frieze framing the portrait of "Madame de Galéa à la méridienne" painted in 1912. This aristocratic art lover was one of the painter's recurrent models from 1912 to 1915, when he was living in Cagnes. This is a very interesting summary of Auguste Renoir's world and his pictorial technique. Indeed, we find in this sample the touch so characteristic of the father of Impressionism, marked by the light, the form absorbed by the color.