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拍品專文
The authenticity of this painting was confirmed by the late Franois Daulte.
In September of 1894, Aline and Pierre-Auguste Renoir gave birth to their third son Jean Renoir. Aline's fifteen year old cousin Gabrielle came to Paris shortly before Jean's birth to care for the new baby. Gabrielle au collier is one of several portraits Renoir painted of Gabrielle over the course of what was to be twenty years with the family. According to Barbara Ehrlich White, "[Renoir's] enthusiasm for this new young model revived some of his earlier Impressionist verve, but a new Classical tangibility is also apparent" (op. cit., p. 200). Gabrielle was Renoir's most frequent model. "Renoir disliked professional models and Gabrielle had all the qualities he regarded as essential in a model. Her skin took the light, she had the small-breasted, wide-hipped body he preferred, she was natural and relaxed and she was available to pose at any time" (W. Gaunt, Renoir, Oxford, 1982, p. 47).
In Gabrielle au collier Renoir captures Gabrielle's innate beauty. She is posed naturalistically against a neutral background. Her rich dark black hair is pulled loosely back from her face; she is dressed in a simple white blouse and her only adornment is a necklace. The luminous quality of the painting is emphasized by the white of her blouse and by the manner in which the light glistens in her eyes and reflects off of the pearls of the necklace. Moreover, the life-like portrayal of Gabrielle is enhanced by Renoir's delicate brushstrokes and soft modulation of palette.
At the time Gabrielle au collier was painted, Renoir was enjoying renewed interest in his work and the prices paid for his paintings began to soar. In early 1914, Gabrielle married the American painter Conrad Hensler Slade. She died in February 1959 in Beverly Hills, California, ironically not far from the home of Jean Renoir who had moved to California to be a film director.
In September of 1894, Aline and Pierre-Auguste Renoir gave birth to their third son Jean Renoir. Aline's fifteen year old cousin Gabrielle came to Paris shortly before Jean's birth to care for the new baby. Gabrielle au collier is one of several portraits Renoir painted of Gabrielle over the course of what was to be twenty years with the family. According to Barbara Ehrlich White, "[Renoir's] enthusiasm for this new young model revived some of his earlier Impressionist verve, but a new Classical tangibility is also apparent" (op. cit., p. 200). Gabrielle was Renoir's most frequent model. "Renoir disliked professional models and Gabrielle had all the qualities he regarded as essential in a model. Her skin took the light, she had the small-breasted, wide-hipped body he preferred, she was natural and relaxed and she was available to pose at any time" (W. Gaunt, Renoir, Oxford, 1982, p. 47).
In Gabrielle au collier Renoir captures Gabrielle's innate beauty. She is posed naturalistically against a neutral background. Her rich dark black hair is pulled loosely back from her face; she is dressed in a simple white blouse and her only adornment is a necklace. The luminous quality of the painting is emphasized by the white of her blouse and by the manner in which the light glistens in her eyes and reflects off of the pearls of the necklace. Moreover, the life-like portrayal of Gabrielle is enhanced by Renoir's delicate brushstrokes and soft modulation of palette.
At the time Gabrielle au collier was painted, Renoir was enjoying renewed interest in his work and the prices paid for his paintings began to soar. In early 1914, Gabrielle married the American painter Conrad Hensler Slade. She died in February 1959 in Beverly Hills, California, ironically not far from the home of Jean Renoir who had moved to California to be a film director.