PIERRE-AUGUSTE RENOIR,Vintage Art Masterpieces,Vintage Prints for Sale Luncheon of the Boating Party by PIERRE-AUGUSTE RENOIR {French School}

Luncheon of the Boating Party by PIERRE-AUGUSTE RENOIR {French School}

LUNCHEON OF THE BOATING PARTYLuncheon of the Boating Party

by PIERRE-AUGUSTE RENOIR {French School}

 

Luncheon of the Boating Party (Le Dejeuner des canotiers) was painted at
the beginning of Renoir’s maturity, before his preoccupation with billowy
nudes had robbed him of his interest in portraiture and scenes of public
gaiety.

No other painter, not even the most domestic of the Dutchmen, ever
brought together within the compass of a single canvas a purer reflection of
his environment and his people.

 

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NuMonday Vintage Crafting – MuzG

 

Unmistakably a Renoir, it is also wonder­
fully representative of French life-not the whole of French life, to be sure,
but that part for which Renoir stands as the supreme exemplar.

For he was an artist on good terms with French life, and his delight in liv­
ing was suffused in his pictures.

He was rooted to the things which make the
journey more pleasurable in every age and at any time-social pastimes and
pagan joys that never degenerated into Bohemian lecheries.

If he was un­
moved by the tragedy of man; if he pretended to no abstruse philosophies,
and refused to busy himself with tall thoughts of God and destiny; he never
stooped to the base, the empty, or the absurd.

He painted trees and sunlight,
fruits and flowers, bourgeois recreations, children and the mothers of children.

Renoir directed his talents and his marvelous craftsmanship to but one
end: the acceptance of nature and the rendering of the sensuous aspects of
the physical world. His Luncheon of the Boating Party realizes his ideal in
his most sumptuous style.

The technique is complicated but the meaning is
direct and clear. The technique is a modified form of impressionism: he de­
pended on the flow of natural light but manipulated it to his own needs; that
is, he focused the strongest lights on the crests of his forms to accentuate full­
ness and mass. This picture, with its saturated tones and its naturalistic light­
ing, is related to the simple patterns of Watteau and Fragonard-obviously
more sculptural but modeled in relief, not in the round.

In truth, Renoir, by
temperament, is a modern Fragonard, but more robust and enchanting. He
elects no barriers, technical or sensational,

to confound the spectator; he is
so perspicuous and enjoyable that the French esteem him as another great
exponent of their measured delight in the visible world.

 

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