Renoir
Grand-Palais Paris
Grand-Palais, 24 september - 4 january 2010
Impressionism was at the maturity. Renoir, the painter of Le
Déjeuner des Canotiers remodeled his style 1913. This unknown
period is the the focus of that new exhibition in Grand-Palais, Paris.
In the old film in black and white, the little man laughing is
extremely modest. Wearing a baseball cap, his hands bandaged, the
perfectly trimmed beard and a cigarette in his mouth, this
septuagenarian seems tease the young man who dips his brushes for the
paint. This human body bruised, is Pierre Auguste Renoir. Near him,
recognizes his son John, the future filmmaker. Despite the pain, the
artist raises key color, dense and
saturated, on a canvas that will become La Ferme à
Collettes. We are in 1914. This scene, which impressed the film by
Sacha Guitry,
will attract the attention of the visitor. It is in any case echoes
this quote from the master himself, who a year ago, when he was 72
years, said: "I began to learn painting. "It is this latter period,
little known to the general public and often unloved insiders, who is
making the Grand Palais. In fact, boaters do not have lunch in the
museum, the Moulin de la
Galette will not spin its wings under the canopy of the Grand Palais,
and the gesture appears much less subtle. Sylvie Patry and Claudia
Einecke, curators of the exhibition brought together a hundred
paintings, including some rarely exposed, unpublished photographs,
sculptures, all dating from the last thirty years of the painter's
life.
Born in 1841, it began in 1890 a turning point in his style, after
leading "the fight of Impressionism." The same one that had led to "an
impasse". Then it was back to work, discovered the sculpture, has simplified its line, rounded curves of his muses and
continued his quest for the perfect work. "I would have liked to be the
man of one picture," he said. In recent years reveal the obsessive
aspect of his personality. The need to paint several times the same
table and work only with familiar models. Until his death in 1919, it
will focus on the nude, anxious to "painting of his time." Up will
deliver his work, The Bathers, summing up his ideal of feminine beauty.
Here he abandons the impressionistic touch to support the draft and pay
tribute to the colors still bright. Whoever shared with Cezanne sources of a modern classic becomes an
example for new generations: Bonnard, Matisse and Picasso. This simple
exhibit attempts to reconcile the public with this so late. And remove
all suspicions about the authorship of works due to arthritis
gangrenous fingers. After Renoir, there was Renoir. One of the surprises of the exhibition are sculptures of the master.
Including the large cast of a nude female executed under his direction
by Richard Guino. "Ambroise Vollard, the famous art dealer, wished that
Renoir sculptures, say the curators of the exhibition. It was he who
had the preposterous idea to add support. Renoir initially thought
Maillol, but finally one of his students who will participate in these
"joint works". "Guino settled in Cagnes in 1913 and develops a small
statue that will then expand. "Renoir was much documented on the
proportions of ancient statues, with aims to measure it, take over
those who orchestrated the show. Some have wrongly considered that the
sculpture was fun. We regret that we managed to get a major work, The
Judgment of Paris, held by the museum in Hiroshima. " The quality is coauthor Richard Guino recognized in 1971 by the Third
Civil Chamber of the Paris court after a lengthy lawsuit in 1965 by his
son Michel. The art historian Paul Haesaerts stated in 1947 in Renoir
Sculptor (Ed. Hermes, Brussels): "Guino was never just an actor reading
a text or a musician interpreting a partition mechanically. He was
involved body and soul in the creative act. One can even say with
certainty that, had he not been there, the sculptures of Renoir would
not have happened. Guino was essential.