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拍品專文
Deux fillettes dans le jardin de Montmartre was painted in the mid 1890s, a pivotal decade for Renoir in which he consolidated his artistic position in Paris. These were the years in which he strengthened a personal and professional relationship with the French dealer Paul Durand-Ruel, which proved so fundamental to the painter's career.
In September of 1890, Renoir and his family moved to the Château des Brouillards at 13 rue Giradon in Montmartre. The house had two upper floors, and an attic which had been transformed into a studio for the artist. It was located not far from such popular Montmartre cafés and dance halls as the Moulin de la Galette, and boasted a garden overgrown with flowers and distant views into the countryside. The Château was "a little paradise of lilacs and roses", as Jean Renoir recalled where Renoir painted prolifically. As Jean explained, "the place inspired him". (J. Renoir, Renoir My Father, London, 1962, p. 247).
At that time, in the late 1890s, Renoir returned to scenes of daily life using friends or neighbours as models. Women in a garden had always been one of his most favoured subjects and though he painted young women posed in outdoor settings throughout his career, every work was an endeavour towards a unison of the picture plane. "I struggle with my figures until they are a harmonious unity with their landscape background, and I want people to feel that neither the setting nor the figure are dull and lifeless" (quoted in: K . Weldon, Renoir and his art, London, 1975, pp. 108-109).
Several canvases of this date portray two young girls, often described as sisters, who closely resemble the two figures represented in Deux fillettes dans le jardin de Montmartre (see F. Daulte, nos. 599-602). The present work was most probably painted in Renoir's garden at the Château des Brouillard, at the same date as the nearby Sacré Coeur was being constructed.
In September of 1890, Renoir and his family moved to the Château des Brouillards at 13 rue Giradon in Montmartre. The house had two upper floors, and an attic which had been transformed into a studio for the artist. It was located not far from such popular Montmartre cafés and dance halls as the Moulin de la Galette, and boasted a garden overgrown with flowers and distant views into the countryside. The Château was "a little paradise of lilacs and roses", as Jean Renoir recalled where Renoir painted prolifically. As Jean explained, "the place inspired him". (J. Renoir, Renoir My Father, London, 1962, p. 247).
At that time, in the late 1890s, Renoir returned to scenes of daily life using friends or neighbours as models. Women in a garden had always been one of his most favoured subjects and though he painted young women posed in outdoor settings throughout his career, every work was an endeavour towards a unison of the picture plane. "I struggle with my figures until they are a harmonious unity with their landscape background, and I want people to feel that neither the setting nor the figure are dull and lifeless" (quoted in: K . Weldon, Renoir and his art, London, 1975, pp. 108-109).
Several canvases of this date portray two young girls, often described as sisters, who closely resemble the two figures represented in Deux fillettes dans le jardin de Montmartre (see F. Daulte, nos. 599-602). The present work was most probably painted in Renoir's garden at the Château des Brouillard, at the same date as the nearby Sacré Coeur was being constructed.