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拍品专文
In the 1890s Renoir had developed a very intimate style of portraiture that was well suited to portraying the family members, friends and neighbours he asked to pose for him. As Barbara E. White has observed, these works are 'intimate studies in which the visible strokes create a lively snapshot effect. Renoir treated his figures as models in active scenes; these are not meant to be revealing character studies. Consequently, he blurred the distinction between making a portrait of someone and using that person as a model' (Impressionists Side by Side, New York, 1966, p. 91).
The present work belonged at one time to Maurice Gangnat and was included in the spectacular sale of his collection in 1925. Jean Renoir later recalled the visits that Gangnat made to Cagnes: 'When he entered the studio, his glance always fell on the canvas that Renoir considered the best. "He has an eye!" my father stated. Renoir also said that the collectors who understood something about painting are more infrequent than good painters' (quoted in Renoir, My Father, London, 1962, p. 397). Not only an avid collector of Renoir - the 1925 auction contained no fewer tha 160 works by the artist - Gangnat's patronage extended also to Cézanne and Vuillard. Among the Renoirs were the two great dancer figures, today housed in the National Gallery in London. One of the Cézannes in the collection was La Montagne Saint-Victoire vue de Bibémus (R.837), now part of the Cone Collection in the Baltimore Museum of Art, as well as a Vuillard portrait of Gangnat'swife and son from 1907 (S.VII-419).
The present work belonged at one time to Maurice Gangnat and was included in the spectacular sale of his collection in 1925. Jean Renoir later recalled the visits that Gangnat made to Cagnes: 'When he entered the studio, his glance always fell on the canvas that Renoir considered the best. "He has an eye!" my father stated. Renoir also said that the collectors who understood something about painting are more infrequent than good painters' (quoted in Renoir, My Father, London, 1962, p. 397). Not only an avid collector of Renoir - the 1925 auction contained no fewer tha 160 works by the artist - Gangnat's patronage extended also to Cézanne and Vuillard. Among the Renoirs were the two great dancer figures, today housed in the National Gallery in London. One of the Cézannes in the collection was La Montagne Saint-Victoire vue de Bibémus (R.837), now part of the Cone Collection in the Baltimore Museum of Art, as well as a Vuillard portrait of Gangnat'swife and son from 1907 (S.VII-419).