Portrait of Mademoiselle Sicot - Pierre-Auguste Renoir
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Beschreibung
A formal 1865 portrait by Pierre-Auguste Renoir, featuring a young woman in a violet dress against a dark, atmospheric background.
Painted in 1865, this portrait by Pierre-Auguste Renoir captures a young woman, Mademoiselle Sicot, during the artist's early career. At this stage, Renoir was still heavily influenced by the traditions of the French Academy and the works of Gustave Courbet, rather than the light-filled Impressionist style he would later adopt. The composition is formal and restrained, focusing on the sitter's presence against a dark, neutral background.
Mademoiselle Sicot is depicted in a striking violet dress, which serves as the primary visual anchor of the piece. The garment features black lace trim, a high collar, and a prominent black belt with a gold buckle, reflecting the fashion of the mid-1860s. Renoir pays careful attention to the texture of the fabric, using a controlled application of paint to differentiate the sheen of the silk from the matte quality of the lace. Her posture is composed, with her hands resting gently in her lap, suggesting a quiet, contemplative mood.
This work provides a clear view into Renoir's technical development. The brushwork is precise and smooth, lacking the loose, visible strokes that define his later output. The lighting is focused on the sitter's face and hands, drawing the viewer's attention to her expression. The dark, moody atmosphere of the background creates a sense of depth, ensuring the subject remains the sole focus of the viewer's attention. This portrait is a representative example of the artist's early engagement with portraiture, demonstrating his ability to capture the likeness and social standing of his subjects through a traditional, disciplined approach to oil painting.
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Fertigung
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
Portrait of Mademoiselle Sicot - 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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