Signed with initial lower right
Oil on canvas
11 1/4 x 8 1/2 in, 28.6 x 21.6 cm
Pierre-Auguste Renoir began to experiment with the subject of still life in the 1880s, moving away from the spontaneous aesthetic of Impressionism and his acclaimed oeuvre of dynamic portraits and...
Pierre-Auguste Renoir began to experiment with the subject of still life in the 1880s, moving away from the spontaneous aesthetic of Impressionism and his acclaimed oeuvre of dynamic portraits and provincial scenes. Curiously Renoir had shown little interest in painting still lifes in his youth, though as a porcelain painter he had frequently pictured flowers for the Sèvres workshop in France. From the early 1880s onwards, however, still lifes began to occupy an increasing position of importance in his output as a tool for experimentation as well as financial support.
It was in these compositions that Renoir pursued some of his most probing investigations of the effects of light and colour on objects and surfaces, inspired in part by his close friendship with Cézanne. Renoir told his biographer and fellow artist, Albert André, that it was in his small scale still lifes such as the present work that "he put the whole of himself, that he took every risk". ‘Bouquet d'Anemones’ is a beautiful example of this subject, illustrating the blossoming flowers as they spill out across the canvas with a freeness of line and richness of texture that was typical of Renoir's later works.
The rich textures of the Anemones and saturated colour palette evoke the influence of Cézanne’s still lifes as well as Renoir’s growing interest in Italian Old Masters.
Private Collection, France
Ambroise Vollard, Les Tableaux, Pastels et Dessins de Pierre-Auguste Renoir, Paris, 1918, vol. II, p. 95, ill. (San Francisco 1989, vol. II, p. 263, no. 1218);
Francois Daulte, Catalogue raisonne de l'oeuvre peint de Renoir, vol V (Nature mortes), Editions Durand, Lausanne.
This work is accompanied by a certificate of authenticity by Francoise Daulte, dated 28 December 1995