Self-Portrait at the Age of Thirty Five - Pierre-Auguste Renoir
Archival giclée
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Description
A 1876 self-portrait by Pierre-Auguste Renoir, capturing the artist in his mid-thirties with the loose, atmospheric brushwork characteristic of Impressionism.
Painted in 1876, this self-portrait captures Pierre-Auguste Renoir during a period of significant artistic development. At thirty-five, Renoir was deeply engaged with the Impressionist movement, having participated in the second Impressionist exhibition earlier that same year. The work demonstrates his characteristic approach to light and colour, moving away from the rigid academic standards of his earlier training.
The composition is intimate, focusing on the artist's head and shoulders. Renoir wears a dark hat and a coat, set against a background that transitions from deep, shadowed purples to a luminous, golden yellow. His gaze is directed towards the viewer, conveying a sense of quiet observation. The brushwork is loose and fluid, a hallmark of his style during this decade. Rather than relying on sharp outlines, Renoir builds form through the application of colour, allowing the edges of his features to soften into the surrounding atmosphere.
This portrait provides insight into the artist's personal appearance and his technical experimentation during the mid-1870s. The interplay between the cool tones of his attire and the warm, golden light behind him creates a balanced visual tension. It is a direct, unpretentious study, reflecting the Impressionist interest in capturing the immediate presence of a subject. The painting remains a clear example of Renoir's ability to balance structural form with the ephemeral qualities of light, a technique he refined throughout his career.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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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
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- 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
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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
Self-Portrait at the Age of Thirty Five - 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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