This image is one of over 108,000 from the AMICA Library (formerly The Art Museum Image Consortium Library- The AMICO Library), a growing online collection of high-quality, digital art images from over 20 museums around the world.
www.davidrumsey.com/amica offers subscriptions to this collection, the finest art image database available on the internet. EVERY image has full curatorial text and can be studied in depth by zooming into the smallest details from within the Image Workspace.
- Cultures and time periods represented
range from contemporary art, to ancient Greek, Roman, and Egyptian works.
- Types of works include paintings, drawings,
watercolors, sculptures, costumes, jewelry, furniture, prints, photographs,
textiles, decorative art, books and manuscripts.
Gain access to this incredible resource through either a
monthly or a yearly subscription and search the entire collection from
your desktop, compare multiple images side by side and zoom into the minute
details of the images. Visit www.davidrumsey.com/amica
for more information on the collection, click on the link below the
revolving thumbnail to the right, or email us at email@example.com
Creator Name: Renoir, Pierre-Auguste
Creator Dates/Places: French, 1841 - 1919
Creator Name-CRT: Pierre-Auguste Renoir
Title: In the Studio (Georges Riviere and Marguerite Legrand)
View: Full View
Creation Start Date: 1876
Creation End Date: 1877
Creation Date: 1876-1877
Object Type: Paintings
Materials and Techniques: oil on canvas
Dimensions: Overall: 13 5/8 x 10 in. (34.61 x 25.4 cm.) Framed dimensions: 23 x 19 1/2 x 2 3/4 in. (58.42 x 49.53 x 6.985 cm.)
AMICA Contributor: Dallas Museum of Art
Owner Location: Dallas, Texas, USA
ID Number: 1985.R.60
Credit Line: Dallas Museum of Art, The Wendy and Emery Reves Collection
Context: Although it was painted in the mid-1870s, this small painting has all the intimacy of a work by Edouard Vuillard or Pierre Bonnard from the 1890s. Its first owner, Eugène Murer, was a petit-bourgeois collector from Rouen and Auvers-sur-Oise who knew most of the impressionists well and bought important paintings from Pissarro, Renoir, and Cézanne in the mid- and late 1870s. (Renoir painted a superb portrait of Murer in 1877, now in a private collection in New York. By that time, Murer owned ten major paintings by Renoir.) This is among Renoir's most luscious impressionist "souvenirs," and it is clear that Murer knew not only the artist but also his sitters, the amateur critic and bureaucrat Georges Rivière and the artist's model Marguerite Legrand, known professionally as Margot. Thus, this work of art was not made for the anonymous market of urban capitalism but for a small circle of friends whose common interest was art.Renoir enjoyed painting on this scale in 1876-1877, and he used many of his friends as models for various genre scenes, most of which were posed and painted in the studio. "At the Café" (Rijksmuseum Kroeller-Mueller, Otterlo, Holland) and "At the Milliner's" (Fogg Art Museum, Harvard University Art Museums, Cambridge Massachusetts) are of virtually identical dimensions and have an equally "graphic" facture. In both, Renoir set up an urban interior situation and painted it not in the city but in his large studio on rue Saint-Georges.In making a rapid sketch from life, Renoir applied his paint with short, overlapping wrist gestures that very much resemble the strokes of a pencil or crayon. Accordingly, this, like the other small canvases of 1876-1877, has a nervous, wobbly surface that was repulsive to academically inclined critics of the period. Although the linear strokes looked fairly conventional and, hence, acceptable when they described hair or drapery, their convoluted character was antithetical to the conventional depiction of skin.Georges Rivière, a senior employee at the Ministry of Finance, was a fervent amateur critic of impressionism who appeared in many of the artist's works of the period 1875-1878. He championed not only his hero, Renoir, but all the impressionists, in his journal, "L'Impressioniste," published weekly during the month long run of the impressionist exhibition of 1877. This delightful painting was not included in the impressionist exhibitions of 1876 or 1877, but it was surely painted during those years. Its similarity of facture to Renoir's "Small Female Bather" (Lewyt Collection, New York), painted in 1876, perhaps gives greater weight to the earlier of the two dates."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 63
AMICA ID: DMA_.1985.R.60
AMICA Library Year: 2003
Media Metadata Rights:
AMICA PUBLIC RIGHTS: a) Access to the materials is granted for personal and non-commercial use. b) A full educational license for non-commercial use is available from Cartography Associates at www.davidrumsey.com/amica/institution_subscribe.html c) Licensed users may continue their examination of additional materials provided by Cartography Associates, and d) commercial rights are available from the rights holder.
Copyright © 2007 Cartography Associates.
All rights reserved.