Female theme in art: Renoir paintings with titles

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

Renoir is considered one of the founders of classical impressionism, however, unlike the paintings of his colleagues, his painting developed in a different direction. He devoted his work to the techniques of transparent painting. Using completely new techniques for applying strokes, Renoir achieved a separate structure of his work, which greatly distinguishes his work from the school of the old masters.

Women in Renoir

Renoir's paintings, whose names are associated with a truly feminine charm, miraculously convey the barely noticeable features of girlish beauty. He was an optimist and looked for the best things in life, trying to preserve them with the painterly kinetics of his brushes.

As an artist, Renoir, whose paintings radiate light, was able to find and depict only joyful and happy faces. Largely due to this ability, as well as the inherent love of people, the creator made women the quintessence of his art.

Renoir paintings with titles "Jeanne Samary","Ballerina", "Bathers" betray in him a connoisseur of female nature, who had his own ideal of beauty and was alien to conventions. The women in Auguste's paintings are recognizable, and anyone who has ever encountered the history of painting is able to recognize the master's hand. Each lady always looks from the canvas with eyes filled with a thirst for love and a craving for change. Among the common features that can be seen in all the female portraits of the artist, all the ladies in the paintings have a small forehead and a heavy chin.

"Portrait of Jeanne Samary" and "Portrait of Henriette Hanriot"

In 1877, a personal exhibition of the artist's expositions was held within the framework of Impressionism. Among the majority of works, Renoir's paintings with the titles "Portrait of Jeanne Samary" and "Portrait of Henriette Hanriot" aroused the greatest interest. The ladies depicted in the pictures are actresses. The author painted their portraits more than once. The paintings captured attention largely due to the skillfully created illusion of the mobility of the white-blue background, which gradually condenses around the outlines of the feminine Henriette and leads the viewer to her velvety brown eyes. Despite the fact that the overall exposition was very kinetic and emotional, it at the same time remained motionless, with an emphasis on the contrast of dark brow ridges and pliable red curls.

In a similar manner, Pierre-Auguste Renoir, whose paintings are not famous for the placement of accents and detailing, painted a portrait of the charming Jeanne Samary. The figure of the actress seems to be molded from ornate purple strokes, which are incrediblethus absorbed the entire possible color palette and at the same time retained the dominant red color. Renoir skillfully brings the viewer to the girl's face, focusing on the traced mouth, eyes and even strands of hair. The background puts reflexes on the face of the actress with a purple blush, which fits very harmoniously into the image of the diva. The very body of the actress is filled with hasty strokes characteristic of the Impressionists.

Technical features of Renoir's performance

Pierre Auguste Renoir, whose paintings radiate the spirit of impressionism, continued to work until the last days of his life, not allowing his illness to remove him from paints. In addition to his love for the depiction of female nature, the artist became famous for his ability to effectively use color and work with paints that his colleagues in the craft rarely resorted to.

Auguste is one of the few who skillfully resorted to using a combination of black, gray and white colors on his canvases so that the paintings did not look “dirty”. The idea to experiment with this color scheme came to the artist when he somehow sat and watched the raindrops. Many art critics notice that the artist can be called a master of the image of umbrellas, as he often resorted to this detail in his work.

For the most part, the master used white paint, Neapolitan yellow paint, cob alt blue, crown, ultramarine, kraplak, emerald green paint and vermilion, but their skillful combination gave rise to incredibly picturesque masterpieces. Closer to 1860 whenImpressionism gained momentum, Renoir's color palette changed and he began to resort to brighter shades, such as red.

Monet's influence on Renoir's work

The case led Renoir to a meeting with a painter no less significant for French art, Claude Monet. Their fates intertwined, and for some time they lived in the same apartment, constantly honing their skills, depicting each other on canvases. Some critics argue that the similarities between their paintings are so obvious that, were it not for the caption in the lower left corner, it would technically be impossible to tell them apart. However, there are obvious differences in their work. For example, Monet focused on the play of light and shadow, thanks to which he created his own contrasts on canvases. Auguste valued color more as such, which made his paintings more iridescent and full of light. Another fundamental difference in the work of painters was that Renoir's paintings, with the names of which women are certainly associated, always gravitated towards the depiction of human figures, while Claude Monet certainly took them to the background.