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Lot Essay
Impressionism's pre-eminent figure painter, Pierre-Auguste Renoir was occupied with portraiture throughout his career and the numerous examples of his practiced production embrace a variety of formats and media. In 1878 Théodore Duret stated:
Renoir excels at portraits. Not only does he catch the external features, but through them he pinpoints the model's character and inner self... the deft and lively touches of Renoir's brush are charming, supple and unrestrained, making flesh transparent and tinting the cheeks with a perfect living hue. (Quoted in B.E. White, Renoir, His Life, Art, and Letters, New York, 1984, p. 277)
Portrait d'Edmond Renoir, Jr. recalls the artists' paintings of the 1870s, in which a single sitter is presented in three-quarter or full profile. In the later works, the sitter is most often shown from a closer vantage point, a re-orientation that allows a heigtened intimacy-- Renoir removes any hint of the sitter's location, instilling a timeless quality.
As in so many of Renoir's canvases, the surface itself is seductive. The artist's characteristically luminous brushwork welcomes close attention, and the composition focuses on the figure without the distraction of a highly embellished interior. In the present work the brushwork is smooth and feathery in the child's face and intentionally looser in his hair.
Long curls were in fashion for young boys at this date, but Renoir wanted to preserve those of his own children as long as possible. Pierre's brother, Jean, later remembered his own acute embarrassment at the curls he was forced to wear until he went to school, although he was taunted with the nicknames 'girl' and, still, worse, 'wall-mop' (J. Renoir, Renoir, Paris, 1962).
In a letter dated 9 June 1939, Sam Salz confirmed to René Gaffé that the present work dates to 1883-1884 and his asking price was FF 200,000. In letters dated 20 December 1954 and 13 January 1955, Sam Salz expressed his desire to re-acquire the present painting from René Gaffé.
Renoir excels at portraits. Not only does he catch the external features, but through them he pinpoints the model's character and inner self... the deft and lively touches of Renoir's brush are charming, supple and unrestrained, making flesh transparent and tinting the cheeks with a perfect living hue. (Quoted in B.E. White, Renoir, His Life, Art, and Letters, New York, 1984, p. 277)
Portrait d'Edmond Renoir, Jr. recalls the artists' paintings of the 1870s, in which a single sitter is presented in three-quarter or full profile. In the later works, the sitter is most often shown from a closer vantage point, a re-orientation that allows a heigtened intimacy-- Renoir removes any hint of the sitter's location, instilling a timeless quality.
As in so many of Renoir's canvases, the surface itself is seductive. The artist's characteristically luminous brushwork welcomes close attention, and the composition focuses on the figure without the distraction of a highly embellished interior. In the present work the brushwork is smooth and feathery in the child's face and intentionally looser in his hair.
Long curls were in fashion for young boys at this date, but Renoir wanted to preserve those of his own children as long as possible. Pierre's brother, Jean, later remembered his own acute embarrassment at the curls he was forced to wear until he went to school, although he was taunted with the nicknames 'girl' and, still, worse, 'wall-mop' (J. Renoir, Renoir, Paris, 1962).
In a letter dated 9 June 1939, Sam Salz confirmed to René Gaffé that the present work dates to 1883-1884 and his asking price was FF 200,000. In letters dated 20 December 1954 and 13 January 1955, Sam Salz expressed his desire to re-acquire the present painting from René Gaffé.