Pierre-Auguste Renoir

Ambroise Vollard, Paris
Galerie de l'Art Moderne, Paris
Acquired from the above by the family of the present owner circa 1950

Geneva, Galerie Motte, Les maîtres de l'impressionnisme, 1954, no. 35 (incorrectly catalogued as 'signed lower right')

Ambroise Vollard, Pierre-Auguste Renoir, tableaux, pastels et dessins, Paris, 1918, vol. I, no. 662, illustrated p. 167

The canvas is lined. There is no evidence of retouching under ultra-violet light. This work is in very good condition. Colours: Overall fairly accurate in the printed catalogue illustration, although slightly less red in the original.
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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 portraits are among the most sensually appealing compositions of Impressionist art. Portrait de femme au bandeau vert is a wonderfully intimate example of the artist's mature style, exemplifying his ability to capture the serenity and grace of the female face. Portrayed in profile, the woman is depicted here alone and self-absorbed, seemingly unaware of being watched. The sensuousness of the composition is enhanced by the sitter's full lips and the invocation of the sense of touch as she rests her head on her hand. Renoir used a palette of soft colours to render the delicate features of the woman's face whilst contrasting it with stronger tones such as the green of her hairband and the more subdued, broadly brushed background.  Depicting the sitter against a neutral background, Renoir brilliantly focuses the viewer's attention on the figure and develops a more symbolic sense of expression.

By the time he painted the present work, Renoir was renowned as the finest portrait painter of the Impressionist circle. His portraits of women in particular received overwhelming praise by his contemporaries and were admired for their sweet docility and sensual allure. The critic Théodore Duret later wrote: 'Renoir excels at portraits. Not only does he catch the external features, but through them he pinpoints the model's character and inner self. I doubt whether any painter has ever interpreted women in a more seductive manner. The deft and lively touches of Renoir's brush are charming, supple and unrestrained, making flesh transparent and tinting the cheeks and lops with a perfect living hue. Renoir's women are enchantresses' (T. Duret, Histoire des peintres impressionnistes, Paris, 1922, p. 27).