Женщина на стуле или сидящая работа Огюста Ренуара 1895 года не самая лучщая, живописная палотно этого прекрсного французского мастера. почему выбрали именно эту работу не знаю тут самые хорошие вещи его сочный гогатый чистый колор свободными масками точно ❯❯❯
прекрасный этюд изумительно какое мастерство моментальный схват харктера всегда передаёт красоту мягко свабодно прозрачност такого тяжолого одновременно прозрачного цвето сочетания изумляет его плодотворность только импрессионисты смогли оторвать от класич ❯❯❯
работа начата но прерванна в чём дело уже некоторое время хочу разобратся почему ренуар не закончил то что мы видим так органично для него натура как ра в это время такая каких судоволствием и срадостью рисавал а именно высокий эстетический вкус он разборч ❯❯❯
БЛЕСТЬящАя В этой изумительной картине вес ренуар он сам писал ка удачно я поработал но сама вся светилась и мы видим и мастер и натура как помогали друг друге бывает счастливый момент иногда когда одо целое и тогда получаем шедевр ❯❯❯
работа начата но прерванна в чём дело уже некоторое время хочу разобратся почему ренуар не закончил то что мы видим так органично для него натура как ра в это время такая каких судоволствием и срадостью рисавал а именно высокий эстетический вкус он разборч ❯❯❯
БЛЕСТЬящАя В этой изумительной картине вес ренуар он сам писал как удачно я поработал но сама вся светилась и мы видим и мастер и натура как помогали друг друге бывает счастливый момент иногда когда они натура и художник проходят художественный процес это ❯❯❯
РЕНУАР МАЛаДАЯ ЖеНЩиНа В БЕЛОМ шЛяпе 1892 г в левом полуобороте мягко облокатившая на левую ручку прекрасная работа сильно освещена световой импресии красота и мягкий лиризм женственность манер рука голова мягкои красива даже взгляд опушенных ресниц податл ❯❯❯
Ренуар. Каждая из его картин наполнена своим и в то же время характерным настроением присущим его работам. Это настроение передается через образ и этот образ мягкий, нежный рамантичный, спокойный. Эти качества мы можем наблюдать наиболее полно в этом полот ❯❯❯
Данное произведение мне незнакомо. Могу высказать мнение об отдельных сторонах этого произведения. Важно знать для какой аудитории и какую ценность этого произведения нужно осветить! ❯❯❯
мне думается что даже маститые искусствоведы не мгут словами передать те чувства которые испытывает художник в момент творческого озарения. подлинные ценители и поклонники искусства это понимают и проникновенно восхищаются им. живоптсь нужно видать видение ❯❯❯
Пришёл сюда после просмотра фильма "Ренуар" 2012 года. Ну что могу сказать, фильм может и не плохой, но атмосфера в фильме совершенно не вяжется с его картинами. Там именно картины обошли немного стороной, не стали излишне уточнять, в результате что получилось – глядя на картины это совсем другой человек.
-Действительно, если не пришло время увидеть и понять своим сердцем и своей душой без посторонних объяснений, то и не стоит обсуждать. Что принимаю своей душой, то обожаю, об остальном только молчу. ❯❯❯
Pierre-Auguste Renoir, one of five sons of the poor tailor Léonard Renoir, was born on February 25, 1841, in Limoges. Three years later, the family moved to Paris. Recognizing young Augustes talent for drawing, his father apprenticed him to a porcelain factory at the age of 13. The boy became so skilled at painting plates and cups that he was nicknamed Monsieur Rubens. Later, when creating paintings, Renoir applied skills acquired during those four years at the factory, and his canvases sometimes resemble polished porcelain surfaces. When machines made hand-painting obsolete, Auguste began painting fans, then curtains, until he had saved enough money for art studies.
At 21, Renoir enrolled in the School of Fine Arts. He believed that a good artist must master all the rules and techniques of the craft. He studied diligently, avoiding distractions with his fellow students, economizing on everything as he paid for his own education, and even collecting discarded paint tubes left by other students. When his savings ran out, Auguste began painting portraits on commission and happily returned to painting plates and curtains. Painting is an unparalleled pleasure for me, he said.
At school, Renoir met Claude Monet and became lifelong friends. Both of them often struggled financially and supported each other throughout their lives. From their student days, Renoir and Monet frequently painted the same subjects in a similar style. Later, they together championed Impressionism – a new movement that emphasized working outdoors, creating paintings in a single session inspired by what was seen, and rejecting black lines and black paints. The public did not accept this new art; they didnt understand it or buy it. Renoir, like his colleagues, struggled to make ends meet.
His financial situation began to improve when he was well into his thirties. He gained several wealthy patrons, including Marguerite Charpentier, the wife of a Parisian publisher, who herself commissioned portraits from him and recommended him to her friends. During this time, Auguste often visited a dance hall in Montmartre, which was then a suburb of Paris but still retained a village atmosphere. Here, he looked for models. To attract women, Renoir bought several fashionable straw hats and gave them away. Rumors spread throughout Montmartre about the wealthy artist, and mothers began bringing their daughters to Augustes studio, praising their virtues. Renoir was captivated by female beauty but preferred painting to love. The actress Jeanne Samary, who was in love with him, said of him: Renoir is not made for marriage. He combines with all the women he paints through the touch of his brush. Throughout his life, he created hundreds of portraits of women, often depicting nude models, and maintained exclusively friendly or professional relationships with them.
However, at 39, he met a woman he could not forget. Hoping to find peace, Renoir even traveled to Italy and Algeria. After returning a few months later, the painter proposed marriage to Aline Charigot, who was 18 years younger than him. She gave him three sons, who became an inexhaustible source of inspiration for him. After his Italian journey and visits to museums, Renoir developed what he himself called a hatred of Impressionism. He began painting with great precision, striving to accurately reproduce form, paying more attention to composition, and using a darker palette. The artist was plagued by doubts about whether he knew his craft or if he was doing the right thing. Renoir destroyed several old paintings and constantly experimented with new styles as he worked on new pieces. He was accused of flitting from one style to another, but the artist did not argue. He always compared himself to a cork bobbing along in the current. Looking at Renoirs later works, it is hard to imagine that they were created by a man who was practically paralyzed. Rheumatism, which first appeared when he was young, eventually confined him to a chair and disfigured his hands. He could no longer hold a brush himself; it had to be inserted between his index and middle fingers.
When friends came to inquire about his health, Renoir amazed them with his unwavering cheerfulness. All in all, I am lucky because I can paint, he said. Even in his final hours, the artist, delirious, asked for his palette.
Pierre-Auguste Renoir died on December 4, 1919, at the age of 78. He never considered himself a great artist, but once said, I think I have earned a little success because I worked hard. Disliking the word thinker, he confessed: I would prefer a beautiful plate painted with three simple colors than miles of tedious painting. Never seeking to reveal the souls of his models, Renoir said: I always tried to paint people, perfectly beautiful fruits.
Какая симпатичная девушка! Жюли Мане – дочь (и муза) Берты Моризо и племянница Эдуарда Мане. Жаль, рано лишилась родителей. Впоследствии стала художницей, как и мать. ❯❯❯
COMMENTS: 66 Ответы
Ренуар, Ренуар! Тебя носило как пробку по волнам океана искусства!
Пришёл сюда после просмотра фильма "Ренуар" 2012 года. Ну что могу сказать, фильм может и не плохой, но атмосфера в фильме совершенно не вяжется с его картинами. Там именно картины обошли немного стороной, не стали излишне уточнять, в результате что получилось – глядя на картины это совсем другой человек.
Pierre-Auguste Renoir, one of five sons of the poor tailor Léonard Renoir, was born on February 25, 1841, in Limoges. Three years later, the family moved to Paris. Recognizing young Augustes talent for drawing, his father apprenticed him to a porcelain factory at the age of 13. The boy became so skilled at painting plates and cups that he was nicknamed Monsieur Rubens. Later, when creating paintings, Renoir applied skills acquired during those four years at the factory, and his canvases sometimes resemble polished porcelain surfaces. When machines made hand-painting obsolete, Auguste began painting fans, then curtains, until he had saved enough money for art studies.
At 21, Renoir enrolled in the School of Fine Arts. He believed that a good artist must master all the rules and techniques of the craft. He studied diligently, avoiding distractions with his fellow students, economizing on everything as he paid for his own education, and even collecting discarded paint tubes left by other students. When his savings ran out, Auguste began painting portraits on commission and happily returned to painting plates and curtains. Painting is an unparalleled pleasure for me, he said.
At school, Renoir met Claude Monet and became lifelong friends. Both of them often struggled financially and supported each other throughout their lives. From their student days, Renoir and Monet frequently painted the same subjects in a similar style. Later, they together championed Impressionism – a new movement that emphasized working outdoors, creating paintings in a single session inspired by what was seen, and rejecting black lines and black paints. The public did not accept this new art; they didnt understand it or buy it. Renoir, like his colleagues, struggled to make ends meet.
His financial situation began to improve when he was well into his thirties. He gained several wealthy patrons, including Marguerite Charpentier, the wife of a Parisian publisher, who herself commissioned portraits from him and recommended him to her friends. During this time, Auguste often visited a dance hall in Montmartre, which was then a suburb of Paris but still retained a village atmosphere. Here, he looked for models. To attract women, Renoir bought several fashionable straw hats and gave them away. Rumors spread throughout Montmartre about the wealthy artist, and mothers began bringing their daughters to Augustes studio, praising their virtues. Renoir was captivated by female beauty but preferred painting to love. The actress Jeanne Samary, who was in love with him, said of him: Renoir is not made for marriage. He combines with all the women he paints through the touch of his brush. Throughout his life, he created hundreds of portraits of women, often depicting nude models, and maintained exclusively friendly or professional relationships with them.
However, at 39, he met a woman he could not forget. Hoping to find peace, Renoir even traveled to Italy and Algeria. After returning a few months later, the painter proposed marriage to Aline Charigot, who was 18 years younger than him. She gave him three sons, who became an inexhaustible source of inspiration for him. After his Italian journey and visits to museums, Renoir developed what he himself called a hatred of Impressionism. He began painting with great precision, striving to accurately reproduce form, paying more attention to composition, and using a darker palette. The artist was plagued by doubts about whether he knew his craft or if he was doing the right thing. Renoir destroyed several old paintings and constantly experimented with new styles as he worked on new pieces. He was accused of flitting from one style to another, but the artist did not argue. He always compared himself to a cork bobbing along in the current. Looking at Renoirs later works, it is hard to imagine that they were created by a man who was practically paralyzed. Rheumatism, which first appeared when he was young, eventually confined him to a chair and disfigured his hands. He could no longer hold a brush himself; it had to be inserted between his index and middle fingers.
When friends came to inquire about his health, Renoir amazed them with his unwavering cheerfulness. All in all, I am lucky because I can paint, he said. Even in his final hours, the artist, delirious, asked for his palette.
Pierre-Auguste Renoir died on December 4, 1919, at the age of 78. He never considered himself a great artist, but once said, I think I have earned a little success because I worked hard. Disliking the word thinker, he confessed: I would prefer a beautiful plate painted with three simple colors than miles of tedious painting. Never seeking to reveal the souls of his models, Renoir said: I always tried to paint people, perfectly beautiful fruits.
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