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拍品專文
This painting will be reproduced in the Renoir catalogue raisonné from François Daulte being prepared by the Wildenstein Institute.
The present work portrays Madeleine Bruno, the nurse who looked after Renoir at the end of his life. According to his son Jean Renoir, at the time he painted her, ". . . until his last breath, his arm remained as steady as that of a young man" (J. Renoir, "Renoir My Father", Look, XXVI, 6 November 1962, p. 67).
In 1916, shortly before the date of this painting, Monet commented, "As for Renoir, he is still astonishing. He is said to be a very sick and then all of a sudden you hear that he is working and forging ahead all the same. He is quite simply marvelous" (B.E. White, Renoir, His Life, Art, and Letters, New York, 1984, p. 277). Thédore Duret described his ability as a portraitist commenting,
Renoir excels at portraits. Not only does he catch the external features, but through them he pinpoints the model's character and inner self. I doubt whether any painter has ever interpreted women in a more seductive manner. 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. Renoir's women are enchantresses . . . " (ibid., p. 84).
The present work portrays Madeleine Bruno, the nurse who looked after Renoir at the end of his life. According to his son Jean Renoir, at the time he painted her, ". . . until his last breath, his arm remained as steady as that of a young man" (J. Renoir, "Renoir My Father", Look, XXVI, 6 November 1962, p. 67).
In 1916, shortly before the date of this painting, Monet commented, "As for Renoir, he is still astonishing. He is said to be a very sick and then all of a sudden you hear that he is working and forging ahead all the same. He is quite simply marvelous" (B.E. White, Renoir, His Life, Art, and Letters, New York, 1984, p. 277). Thédore Duret described his ability as a portraitist commenting,
Renoir excels at portraits. Not only does he catch the external features, but through them he pinpoints the model's character and inner self. I doubt whether any painter has ever interpreted women in a more seductive manner. 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. Renoir's women are enchantresses . . . " (ibid., p. 84).