Pierre-Auguste Renoir

Galerie Paul Vallotton, Lausanne
Acquired from the above by the present owner in 1950

Ambroise Vollard, Pierre-Auguste Renoir: Paintings, Pastels and Drawings, San Francisco, 1989, no. 193, illustrated p. 49

The canvas is lined. Apart from a small 1cm. line of fluorescence, possibly retouching, near the top left corner, visible under UV light, this work is in good condition. Colours: The colours are richer and brighter in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Renoir's female portraits are central to the idyllic, harmonious world the artist constructed in his work. The artist portrayed a wide variety of different female subjects during his career, yet nearly all his models are a means of depicting an underlying ideal that was always Renoir's ultimate artistic goal. The typical Renoir female is plump with creamy skin, a full mouth and a dreamlike expression, all of which result in his portraits tending towards an archetype of feminine beauty rather than an individualised depiction of any one sitter. The distinctive, feathery brushwork of this portrait was a legacy of Renoir's apprenticeship as a painter of porcelain, and this fluid technique is perfectly suited to the rendering of the female form. This work combines this impressionist style with an ambience taken from the pastorals of the 18th century Old Masters, in particular Rococo masters such as Watteau and Boucher whom the artist loved, resulting in a romantic, optimistic depiction of feminine beauty.