Romaine Lascaux - Pierre-Auguste Renoir
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Beschreibung
A portrait of Romaine Lascaux by Pierre-Auguste Renoir, painted in 1864. This work captures the young subject with soft light and precise detail.
Painted in 1864, this portrait of Romaine Lascaux captures the young subject with the characteristic softness that defined Renoir's early career. At this stage, the artist was moving away from the rigid academic training of the École des Beaux-Arts, yet he retained a focus on clear form and structured composition that would later dissolve into the looser brushwork of his mature Impressionist period. The young girl is depicted seated, her hands resting gently in her lap while holding a small cluster of red flowers. Her attire, featuring a white blouse with dark trim and a full skirt, is rendered with attention to texture and light.
The background presents a contrast between a draped, neutral fabric on the left and a dense, floral arrangement on the right. This juxtaposition allows Renoir to experiment with the interplay of light and colour, a pursuit that occupied him throughout his life. The subject's gaze is direct and composed, reflecting the formal requirements of nineteenth-century portraiture while maintaining a sense of individual character. The palette is balanced, utilising muted tones in the clothing to allow the red of the flowers and the warmth of the subject's skin to emerge.
This work provides a clear view into the development of Renoir's technique. It demonstrates his ability to balance the demands of a commissioned portrait with his own developing interest in the effects of natural light. The brushwork is controlled, showing a precision that predates the rapid, broken strokes of his later work. As a piece of historical documentation, it offers a glimpse into the fashion and social conventions of the period, while remaining a study of childhood innocence. The painting is held in the collection of the Cleveland Museum of Art, where it is recognised for its technical execution and its place in the early chronology of the artist's career.
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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
Romaine Lascaux - 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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