Pierre-Auguste Renoir

Durand-Ruel, Paris
Private Collection, Switzerland
Sale: Schuler Auktionen, Zurich, 17th March 2000, lot 3292
Acquired at the above sale by the present owner

The canvas is not lined and there are no signs of retouching under UV light. This work is in good original condition.
"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."

In searching beyond the narrative nature of portraiture, Renoir found inspiration in the natural serenity of the Mediterranean coast, which allowed him to depict relationships through landscapes and figures. It was in his beloved surroundings of Cagnes that the artist saw nature as a timeless paradise. Unlike his companion Monet, Renoir was not interested in topography and instead focused on the relationship between a place and its surrounding atmosphere. He worked specifically with the 'solidity, fullness, richness, reality, dignity, depth and majesty, all of which are embodied in compositions characterized by dynamic relations between solid volumes of color and units of colorful space' (A. C. Barnes, The Art of Renoir, Pennsylvania, 1935, p. 115). 

Renoir was very intent on depicting nature in a dream-like setting.  He proposed, 'How hard it is to find in a picture the exact point where imitation of nature should cease. A painting must not stink of the model, yet it must keep the scent of nature' (quoted in François Daulte, Renoir, London, 1959, p. 15). Time is suspended in Paysage montagneux. Painted in 1914, the bright colours and contrasts in the composition liberate the scene from the canvas. The brush strokes are informal yet carefully composed, mimicking Renoir's understanding of nature as boundless. Glassy hues of pink and rich tonalities of green embrace the town set far in the background, leading the viewer to the clear blue Mediterranean sea, creating an ethereal atmosphere. Although the present work portrays Renoir's avant-garde edge, it remains consistent in depicting him as 'a faithful priest of the art which is immortal because it is the earthly reflection of eternal, divine beauty' (Nicholas Wadley, Renoir: A Retrospective, New York, 1987, p. 277).