Ambroise Vollard - Pierre-Auguste Renoir
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Beschreibung
A portrait of the art dealer Ambroise Vollard, painted by Pierre-Auguste Renoir in 1908, capturing the subject in a moment of quiet study.
This portrait depicts the influential Parisian art dealer Ambroise Vollard, a figure who played a significant role in the careers of many modern artists. Painted by Pierre-Auguste Renoir in 1908, the work captures Vollard in a moment of quiet contemplation. He is shown in profile, his gaze fixed upon a small figurine held within his hands. The subject wears a dark suit, which contrasts with the warm, textured background of reddish-orange tones.
Renoir employs his characteristic brushwork here, favouring soft edges and a tactile application of paint. The surface of the table is covered with a patterned cloth, adding a decorative element to the composition. Beside the figurine, a piece of blue and white porcelain sits, further suggesting the environment of a collector or dealer. The lighting is focused on Vollard and the object of his attention, drawing the viewer into the intimacy of the scene.
By this stage in his career, Renoir had moved away from the strict optical experiments of his earlier Impressionist years, adopting a more sculptural approach to form. The figure of Vollard is rendered with a sense of weight and volume, while the background remains somewhat atmospheric. This portrait is one of several studies Renoir produced of the dealer, reflecting their professional association and personal acquaintance. The painting provides insight into the world of early twentieth-century art commerce, where the dealer was often as much a participant in the creative process as the artist. The work remains a fine example of Renoir's mature portraiture, balancing observation with a painterly sensibility that prioritises the physical presence of the sitter.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Ambroise Vollard - Pierre-Auguste Renoir
Artist Biography
Pierre Auguste Renoir
He met Monet, Sisley, and Bazille at Charles Gleyre's studio in the early 1860s. In 1869, he and Monet painted side by side at La Grenouillere, a bathing spot on the Seine, producing some of the earliest distinctly Impressionist work. They co-founded the first Impressionist exhibition in April 1874 with Pissarro and others. Of the group, Renoir was the one most drawn to people. His subjects are eating, dancing, talking, sitting in the sun, doing very little. The paint itself seems warm.
Luncheon of the Boating Party, painted in 1881, includes his future wife Aline Charigot as the woman on the left playing with a small dog. She was a dressmaker, twenty years his junior. They married in 1890. The model Suzanne Valadon, later a significant painter in her own right, posed for several of his works during this period.
Rheumatoid arthritis set in around 1892 and progressively crippled his hands. In 1907 he moved south to Cagnes-sur-Mer, near the Mediterranean, seeking warmer air. The commonly repeated story is that brushes were strapped to his paralysed fingers. The reality is more precise: he could still grip a brush, but an assistant had to place it in his permanently clenched hand. Bandages visible in late photographs prevented skin irritation rather than holding brushes in place. Film footage from 1915 shows the seventy-four-year-old painting at his easel while his fourteen-year-old son Claude arranged the palette and placed brushes in his hand.
He kept painting until the day he died, in December 1919, at seventy-eight.
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