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拍品专文
In 1890 Renoir married his long-time mistress Aline-Victorine Charigot, thereby legitimizing their five year old son Pierre. The same year he painted his son in Jeune garon au ruisseau. Renoir had used Pierre as a model in many of his paintings from 1885 onwards and images such as Nursing (1886, Daulte 497, coll. Museum of Fine Arts, St. Petersburg), La blanchisseuse et son enfant (1886, Daulte 509, coll. The Barnes Foundation), Les laveuses (circa 1889, Daulte 572, coll. The Baltimore Museum of Art), Scène de jardin en Bretagne (1887, Daulte 505, coll. The Barnes Foundation), and La marchande de pommes (1890, Daulte 585, coll. The Cleveland Museum of Art) are among his most highly regarded works. In these paintings Pierre was always shown in the company of adults, acting in a childish role, but in the present work he is portrayed as an independent and confident young boy. Painted with delicate brushstrokes and richly colored, the soft effect of the painting underscores its intimacy. The fact that Jeune garon au ruisseau remained in the collection of the artist's family and was not sold until later, indicates how dear it was to Renoir.
Painted in the environs of Essoyes, Jeune garon au ruisseau can also be understood in the context of Renoir's variations on the theme of the Arcadian ideal that preoccupied him during the final decades of his life. In these images Renoir presented scenes of paradisiacal retreats in which his subjects were shown in states of self-absorbed reflection and repose. This choice of subject in his work marked a change from his earlier preoccupation with the rendering of images of modern life. Though these paintings typically portrayed young women posed in a garden, the present painting foreshadows Renoir's 1911 portrait of Alexander Thurneyssen as a bucolic shepherd (coll. Museum of Art, Rhode Island School of Design).
Painted in the environs of Essoyes, Jeune garon au ruisseau can also be understood in the context of Renoir's variations on the theme of the Arcadian ideal that preoccupied him during the final decades of his life. In these images Renoir presented scenes of paradisiacal retreats in which his subjects were shown in states of self-absorbed reflection and repose. This choice of subject in his work marked a change from his earlier preoccupation with the rendering of images of modern life. Though these paintings typically portrayed young women posed in a garden, the present painting foreshadows Renoir's 1911 portrait of Alexander Thurneyssen as a bucolic shepherd (coll. Museum of Art, Rhode Island School of Design).