Summary of Pierre-Auguste Renoir
Pierre-Auguste Renoir was a French Impressionist painter whose eye for beauty made him one of the movement's most popular practitioners. He is best known for his paintings of bustling Parisian modernity and leisure in the last three decades of the 19th century. Though celebrated as a colorist with a keen eye for capturing the movement of light and shadow, Renoir started to explore Renaissance painting in the middle of his career, which led him to integrate more line and composition into his mature works and create some of his era's most timeless canvases.
- Working alongside Claude Monet, Renoir was essential to developing Impressionist style in the late 1860s, but there is a decidedly human element to his work that sets him apart. Renoir had a brilliant eye for both intimate domesticity and the day's fashions, and his images of content families and well-dressed Parisian pleasure-seekers created a bridge from Impressionism's more experimental aims to a modern, middle-class art public.
- Renoir was the first Impressionist to perceive the potential limitations of an art based primarily on optical sensation and light effects. Though his discoveries in this field would always remain integral to his art, he reasserted the necessity of composition and underlying structure in modern painting, achieving in his mature work a structured, monumental style that acknowledged the strengths of High Renaissance art.
- Renoir's example became indispensable for the major French movements of high modernism: Fauvism and Cubism. Like Renoir, the progenitors of these styles focused on issues of color, composition, and depth rather than quick sketches of individual moments. His composed, vivid paintings created a vital bridge from earlier colorists like Raphael, Peter Paul Rubens, Jean-Antoine Watteau, and Eugène Delacroix to the 20th-century giants Henri Matisse and Pablo Picasso.
Biography of Pierre-Auguste Renoir
Renoir’s career could be characterized as a roller-coaster of success and rejection, and of connection with and distance from the Impressionist group. But to this day, his art continues to pose the question he once voiced himself: “Why shouldn’t art be pretty? There are enough unpleasant things in this world.”