Art history analysis and description of Pierre Auguste Renoir’s painting ” Nude»
Parisian women are born with all the flaws, but a wonderful fairy gives any of their flaws charm and charm. This fairy is grace.
The painting “naked” was written by Pierre Auguste Renoir during the transition period of creativity, when the development of his art was approaching the Zenith of glory after difficult years of misunderstanding and sharp criticism: “Rough blotches that evoke thoughts of decaying flesh – so at first spoke of my paintings. It is not surprising that from time to time, Monet and I, in order to distract ourselves, gorged ourselves on a stuffed Turkey, which was filled with Chambertin,” Renoir later recalled.
The artist embodied a completely new idea of the ideal of female beauty, which was not recognized by the official Salon. Renoir did not resort to plot decorations, as his predecessor E. Manet in the famous “Olympia”. The artist does not try to elevate his model to a goddess and thereby justify it. In the words of Edmond duranti (in an article on painting), ” the Masters of antiquity created what they saw… Depict what you see.” Renoir’s heroine, the Parisian beauty Anna (“belle Anne”), remains a model. The model was a girl from Montmartre, who was brought to Renoir by an aspiring artist Henri Gervais. In this painting, Renoir, like his predecessors, who represented the French school, spiritualizes nudity, there is no challenge and a hint of debauchery. Renoir, as a poet of the female body, portrays the flesh as something intangible and inaccessible.
Let’s turn directly to the canvas – this is a medium-sized picture, the format is vertical. Portrait in the “nu” genre. made in the interior. Around the model, a pile of shimmering silks-light lines of draperies create the contours of whimsical and abstract forms surrounding the model’s radiant beauty and youth, just as a shell frames a beautiful pearl. Octave Mirbo noted that Renoir not only depicts the external appearance, but also shows the inner world of his models through it:”… it places them in a very different space and in a very different light, where all the beauty of women, shimmering from tenderness and softness to melancholy and suffering, can be perfectly embodied.”
The woman is depicted in the center of the painting on a couch with pink and green silk upholstery. The pose that the model adopted-sideways to the viewer-is quite complex and deprives the model of excessive ease and emancipation that can be expected from a portrait in the “nu” style. Her elegant body, despite its fullness, is hidden in this position from prying eyes – only the back, shoulders and part of the model’s chest are” in the frame”. At the same time, Anna turns her face to the viewer, gracefully turning her head. Just as it is impossible to say that her body corresponds to ideal proportions, so her facial features are far from classical correctness.
The face glows with spring freshness, marked by a rosy blush on the cheeks. Luminous light skin is shown by Renoir through the use of a sensually smoothed method of writing (smooth lessirovka, small strokes). On the skin of the face and neck, the smears are almost indistinguishable – soft transitions of pale cream and pinkish-peach shades create a unique charm of a healthy natural blush. Renoir himself noted: “What I love is a girl’s skin, pink, allowing you to guess the normal pulsating blood under it. And most of all I love serenity.” Serenity and softness of the look is achieved due to the shadow from the lashes. Bright shiny almond-shaped blue eyes with a slightly moist luster are turned to the viewer. Bright red strokes add extra volume to the lips – this accent attracts the viewer’s eye. Several thinly written bright orange-red lines in the hair outline the contour of the hairstyle and give it volume. Her thick dark brown hair is gathered slightly carelessly and looks natural. These strands, which a man would like to touch, are one example of how Renoir’s “man’s voluptuousness finds its embodiment in the artist’s voluptuousness”.
The figure of a woman can be compared to a porcelain statuette, even if not so fragile – “Renoir loved women prone to fullness”, but just as snow-white and shimmering pink mother-of-pearl of youth and pure beauty. It is likely that the artist was influenced by his long experience in painting porcelain. in his youth, he copied Nude figures from a book given to him by his mother, which depicted the gods of Olympus by the great masters of the Italian Renaissance. If we compare his models with Gauguin’s ideal of female beauty, in order to compare the preferences of the two artists, it should be said that Renoir once even refused to participate in an exhibition, wittily noting the reason: “I did not tolerate Gauguin’s painting. His brunettes look anaemic. ”
The artist always paid special attention to his hands. “Usually, to find out how sincere a person is, they look into their eyes. Renoir looked at his hands. If he were asked to list the parts of the human body by their degree of significance, he would undoubtedly start with the hands.” Miniature hands of the model have an elegant shape, which is further emphasized by a small bracelet. At all times, regardless of the level of development of civilization, class affiliation and nationality, jewelry has been an enduring attribute that emphasizes women’s beauty. In addition to the bracelet, large shiny gold earrings in Anna’s ears are clearly spelled out, their cold flickering is indicated by highlights. Gauguin’s Queen’s earrings are quite large trinkets, similar in size and shape to the Renoir model’s precious jewelry, and perform the same function of adding brightness.
If we talk about the light source, it seems as if the whole figure is illuminated with bright light. Light on surrounding objects and the body behaves differently. Silk draperies seem to reflect light, while giving the impression that the smooth texture of the skin absorbs it.
The color of the painting is very peculiar: warm skin tones contrast with cold shades of light-blue silk framing. The surface of the canvas is filled with reflexes and highlights. “Renoir painted no more than a dozen colors. They were squeezed out of tubes onto a carefully cleaned palette in very neat little pieces. With these modest means, he painted his shimmering silks and glowing skin.”
The background color images are written in broader and coarser strokes compared to the sensually smoothed manner of writing on the model’s face and body.
As mentioned above, the model looks directly at the viewer. If we talk about the connection between the master and the model, then on this canvas we observe a consonance of gentle eye-caressing tones, in which the polyphony of “relations rare and fragile, always on the verge of moving to a more serious feeling”sounds. Anna is the embodiment of renourish women with glowing skin, it is a bit like Alina Chariho, which has become a constant Muse and wife of the artist.
Renoir’s ” Nu ” is full of feminine grace and beauty. He “continued to” stroke and move nature ” until death, as women are caressed, until she fully expressed her love. This is exactly what Renoir wanted – a complete surrender to the model that would allow him to touch the very depths of human nature, freed from the cares and conventions of the present moment. Renoir painted body with no clothes and no flashy scenery picturesque. The spirit of girls and boys, children and trees that inhabit the world he created, was also naked… It was in this nakedness that he revealed himself.”