Women's theme in art: Renoir paintings with names

Renoir refers to one of the founders of classical impressionism, however, unlike the paintings of colleagues, his painting developed in a different direction. He devoted his work to the techniques of transparent painting. Using completely new methods of applying smears, Renoir achieved a separate structure of his works, which largely distinguishes his work from the school of old masters.

Women in the paintings of Renoir

The paintings of Renoir, with the names associated with a truly feminine charm, miraculously convey the subtle features of maiden beauty. He was an optimist and sought out the best manifestations in life, trying to preserve them with the help of the picturesque kinetics of his brushes.

As an artist Renoir, whose paintings radiate light, he knew how to find and depict only happy and happy faces. Largely due to this ability, as well as the inherent love of people, the creator made the quintessence of his art of women.

Renoir's paintings with the names "Jeanne Samari", "Ballerina", "Bathers" give him a connoisseur of female nature, who had his own ideal of beauty and was alien to conventions. Women in the pictures of Auguste are recognizable, and anyone who at least once experienced the history of painting, is able to recognize the hand of the master. Each lady always looks at the canvas with eyes filled with a thirst for love and a desire for change. Among the common features that are seen in all the female portraits of the artist - all the ladies in the paintings have a small forehead and a heavy chin.

"Portrait of Jeanne Samary" and "Portrait of Henriette Henriot"

In 1877 there was a personal exhibition of the artist's expositions within the framework of impressionism. Among the majority of works, Renoir's paintings with the names "Portrait of Jeanne Samari" and "Portrait of Henriette Henriot" attracted the greatest interest. The ladies depicted in the pictures are actresses. The author has written their portraits more than once. The paintings captured attention largely due to the skillfully created illusion of the mobility of the blue and white background, which gradually thickens around the outlines of the feminine Anriette and leads the viewer to her velvet brown eyes. Despite the fact that in general the exposition was very kinetic and emotional, at the same time it remained motionless, with an accent on the contrast of dark superciliary arches and pliable red locks.

In a similar manner, Pierre Auguste Renoir, whose paintings are not famous for the arrangement of accents and detail, wrote a portrait of the charming Jeanne Samary. The figure of the actress seems to be sculpted from florid purple smears, which incredibly absorbed all possible color palette and at the same time retained the dominant red color. Renoir skillfully brings the viewer to the girl's face, stopping attention on the drawn mouth, eyes and even strands of hair. Background imposes reflexes on the face of the actress by purple blush, which is very harmoniously blended with the image of the diva. The very body of the actress is filled with haste strokes typical for the Impressionists.

Technical features of the performance of Renoir

Pierre Auguste Renoir, whose paintings and emanate the spirit of Impressionism, continued to work until the last days of life, not allowing the disease to remove him from the paints. In addition to his love of portraying a woman's nature, the artist became famous for his ability to effectively use color and work with colors that his colleagues in the craft rarely used.

Auguste is one of the few who skillfully resorted to using on their canvases a combination of black, gray and white colors so that the pictures do not look "dirty". The idea to experiment with this color scheme visited the artist, when he somehow sat and watched the rain drops. Many art critics notice that the artist can be called a master of umbrella images, as he often resorted to this detail in his work.

For the most part, the master used white, Neapolitan yellow paint, cobalt blue, crowns, ultramarine, kraplak, emerald-green paint and vermilion for work, but their skillful combination gave birth to incredibly picturesque masterpieces. Closer to 1860, when impressionism was gaining momentum, the color palette of Renoir changed and it began to resort to brighter shades, for example, red.

The influence of Monet on the work of Renoir

The case led Renoir to a meeting with an equally important for French art painter, Claude Monet. Their fates intertwined, and they lived for a time in one apartment, constantly honing their skills, depicting each other on canvases. Some critics argue that the similarity of their paintings is so obvious that, if it were not for the signature in the lower left corner, it would not be technically possible to distinguish them. However, there are obvious discrepancies in their work. For example, Monet focused attention on the play of light and shadow, thanks to which he created his contrasts on the canvases. Auguste more appreciated color as such, from that of his picture more iridescent and full of light. Another fundamental difference in the work of painters was that the paintings of Renoir, with the names of which women are necessarily associated, always gravitated toward the depiction of human figures, while Claude Monet necessarily took them to the background.