Several pairs of paintings exist in which Pierre-Auguste Renoir and his friend Claude Monet , working side-by-side, depicted the same scenes, for example La Grenouillère, featured above.
Renoir uses bright and joyful colours that give the painting a happy and festive touch. Water, a subject much studied by the Impressionists, is provided through various colour shades, making it dynamic and lively. Renoir, a faithful impressionist, did not paint any shadows in black. He did not consider it a colour, therefore the shadows are formed by adding pure black to the colour, and thus creating a different shade of the latter.
The two paintings differ in many ways: the painting by Monet shows his desire to capture the effects of light through the colours. The slight ripple of the water is in fact made from blue, pink, ocher and white. The figures are not that relevant to Monet. He presents them as a mass of raw colour. Renoir, on the other hand, takes care of every detail to define the shape and the size of the figures, darkening the scene and giving less importance to the colour than Monet, making the ripples of the river less marked.
via enervatedgrace
life:
“I am still a victim of chess. It has all the beauty of art — and much more. It cannot be commercialized. Chess is much purer than art in its social position.” - Marcel Duchamp
On this day in 1968, artist Marcel Duchamp dies. See more photos here.
via life
Giorgio Vasari nato ad Arezzo il 30 luglio 1511
Autoritratto, Galleria degli Uffizi, Firenze
Monet sitting next to the waterlily pond in his garden at Giverny in France
(Fonte: 3wings)
via fuckyeahimpressionism
Gustave Courbet sul Courrier du dimanche del 25 dicembre 1861
Pierre-Auguste Renoir - Camille Monet and her son Jean in the garden at Atgenteuil (1874)
During the summer of 1874, when Monet, Manet and Renoir worked in close proximity to each other, Monet’s first wife Camille most often posed for Manet and Renoir rather than her husband. Two paintings, one by Manet and one by Renoir, done simultaneously on a summer afternoon, capture a moment of peaceful calm in the Monet’s garden. In 1924, Monet recounted the circumstances of the day in his garden at Argenteuil: “Manet, enthralled by the color and the light, undertook an outdoor painting of figures under trees. During the sitting, Renoir arrived… . He asked me for palette, brush and canvas, and there he was, painting away alongside Manet. The latter was watching him out of the corner of his eye… . Then he made a face, passed discreetly near me, and whispered in my ear about Renoir: ‘He has no talent, that boy! Since you are his friend, tell him to give up painting!’” However later, as a celebrator of beauty, and especially feminine sensuality, it has been said that “Renoir is the final representative of a tradition which runs directly from Rubens to Watteau”. While many Impressionist painters focused on landscapes, Renoir painted people in intimate and candid moments. Renoir’s works are also notable for their use of vibrant light and color. His style emphasized freely brushed touches of color, so that his figures softly fuse with one another and their surroundings.
via fuckyeahimpressionism
Renoir (25 February 1841 - 3 December 1919), in the garden of Les Collettes 1914-15.
Giorgio Vasari, Ritratto di Rosso Fiorentino
Casa Vasari, salone dei ritratti. Firenze
il Rosso era, oltra la pittura, dotato di bellissima presenza; il modo del parlar suo era molto grazioso e grave; era bonissimo musico et aveva ottimi termini di filosofia, e quel che importava più che tutte l’altre sue bonissime qualità, fu che egli del continuo nelle composizione delle figure sue era molto poetico, e nel disegno fiero e fondato, con leggiadra maniera e terribilità di cose stravaganti, et un bellissimo compositore di figure. Nella architettura fu eccellentissimo e straordinario, e sempre, per povero ch’egli fosse, fu ricco d’animo e di grandezza.
Giorgio Vasari, Le vite
Lettera di Pierre-Auguste Renoir a Paul Durand-Ruel
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