Girls in Black – 1880 -1882 Pierre-Auguste Renoir (1841-1919)
Pierre-Auguste Renoir – Girls in Black – 1880 -1882
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Painter: Pierre-Auguste Renoir
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The expanse of imagination, the grace of the models, and the sad kindly look of one of them on you and me. This is Renoir’s painting, Girls in Black. And why exactly in black? It could be some kind of a girls’ gymnasium uniform, or these girls are attending a funeral and therefore black. Although, no, they don’t seem to be at a funeral service, but somewhere in a restaurant. But clearly in mourning.
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Description of Pierre Renoir’s painting Girls in Black
The expanse of imagination, the grace of the models, and the sad kindly look of one of them on you and me. This is Renoir’s painting, Girls in Black. And why exactly in black? It could be some kind of a girls’ gymnasium uniform, or these girls are attending a funeral and therefore black. Although, no, they don’t seem to be at a funeral service, but somewhere in a restaurant. But clearly in mourning. Or maybe they came back from the funeral and decided to relax. Why? It’s a good option, especially since girls are young and don’t tend to be sad for long. But maybe it’s not so bad. But they are both sad all the same, and their black clothes only add to their melancholy and sadness. But there is something else in their eyes - hope, perhaps. But for now they are still living with memories, maybe of relatives, maybe of a good friend. But apparently they both have a lot to remember. At least one of them is leaning toward the other and is about to say something in her ear. Maybe something nice, and probably not nice at all. But the fact is that they both share a common misfortune. Although... maybe it’s Parisian fashion? Maybe even before Coco Chanel black was in fashion and we see simple Parisian fashionistas? But then you can understand the dreaminess in their eyes and a certain courtliness in both of them. Maybe Renoir just wanted to show dreamy, romantic girls who live in Paris and are waiting for a prince on a white horse. It is inherent to Parisian women to dream, but they can also be quite determined when they realize that they are able to get the dream. These two mademoiselles can also be such "hunters for happiness", hiding behind black dresses and fashionable hats. But they are certainly not "fallen angels," but they are not "fluffy kittens.
All his youth Renoir was searching for his genre. And often he was thrown from side to side. He wrote landscapes, then portraits, then genre painting, then something else in this kind ... In the end, he remained in a non-genre, although the style was - impressionism.
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Here we see two young women dressed entirely in black, their attire indicative of mourning practices prevalent during the late nineteenth century. Both wear dark hats with decorative details, and their clothing features high collars and button closures characteristic of the period’s fashion. The woman on the left rests her chin upon her hand, a gesture that conveys pensiveness or melancholy. Her gaze is directed slightly downwards, reinforcing this sense of introspection. The figure to the right maintains a more direct, though still reserved, gaze towards the viewer.
The background is rendered in loose brushstrokes, creating an atmosphere of indistinct activity. Hints of other patrons and foliage are visible, but lack sharp definition. A vibrant orange object sits on a table in the lower portion of the canvas, providing a striking contrast to the prevailing darkness and adding a touch of visual interest. The lighting appears diffused, contributing to the overall somber mood.
Subtleties within the painting suggest deeper meanings beyond mere portraiture. The prevalence of black clothing immediately evokes themes of loss or remembrance. However, the youthfulness of the women implies that these mourning practices might be more about societal expectation than genuine grief. Their stillness and quietude could represent a commentary on the constraints placed upon women during this era – their expected roles as demure and restrained figures in public life. The blurred background hints at a world beyond their immediate presence, suggesting a sense of isolation or detachment from broader social interactions.
The artist’s use of color is deliberate; the dark palette emphasizes the emotional weight of the scene while the orange accent provides a subtle disruption to the uniformity, perhaps symbolizing hope or resilience amidst sorrow. The overall effect is one of restrained emotion and quiet dignity, inviting contemplation on themes of loss, societal expectations, and the complexities of female identity in a specific historical context.