Madame Paul Valery by Renoir
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The family of Madame Paul Valéry, Jeanne Gobillard, counted Renoir as a close personal friend
Key Features
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- A breathtaking Impressionist portrait by the master Pierre-Auguste Renoir of Madame Paul Valéry
- Renoir was a close friend of the sitter's family, and gave the painting to her as a gift
- The artist's skill for utilizing light and color is spectacular
- The painting is authenticated by the Wildenstein Institute and is slated for the catalog raisonné
- Signed and dated "Renoir 04" (lower left); Oil on canvas
- Canvas: 21 3/4" high x 18 1/2" wide; Frame: 29 5/8" high x 26 1/8" wide
Item Details
- Width:
C:18 1/2" F:26 1/8" Inches - Height:
C:21 3/4" F:29 5/8" Inches - Period:
Impressionism 1860-1880 - Origin:
France - Subject:
Figurative - Artist:
Renoir, Pierre-Auguste
Pierre-Auguste Renoir
1841-1919 · French
Madame Paul Valéry
Signed and dated "Renoir 04" (lower left)
Oil on canvas
On November 27th, 1904, Pierre-Auguste Renoir wrote to young Jeanne Valéry: "Would you care to come [to my studio] starting Tuesday morning, if there's not too much fog?" A gentle request from one of the best loved Impressionists of all time, Renoir's calling upon Jeanne that late November day would yield this remarkable composition of his adopted daughter.
This portrait is that of Jeanne Valéry, nee Gobillard, the wife of French poet, essayist and philosopher, Paul Valéry. An orphan at the tender age of 16, Jeanne was the niece of fellow Impressionist Berthe Morisot. The artist took Jeanne and her sister Paule into her family when their mother died, but Morisot's sudden death in 1895 left the young girls without a guardian once more. Renoir, who had been an extremely close friend of Morisot, became the guardian of Morisot's daughter Julie and the Gobillard girls, inviting the three to join his family. Julie, Jeanne, and Paule became very attached to each other and to Renoir, who often entertained them with art lessons. In 1900, Jeanne married Valéry in a double ceremony with Julie and Ernst Rouart, the son of Renoir's good friend and fellow artist, Henri Rouart. This portrait was the first documented portrait Renoir completed of Jeanne, making it quite an exceptional composition.
Renoir was born in Limoges, France and began his career as an apprentice to a painter of porcelain wares. He then moved to Paris at the age of 21, enrolling at the prestigious École des Beaux Arts. It was here, while studying under Charles Gleyre, that Renoir met Claude Monet and several other classmates who would later establish the celebrated French Impressionist group.
Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir embraced working en plein air, or out in the open, recognizing how a subject constantly changed through the dynamism of light. Capturing a particular moment in time, or an "impression," rather than a subjective scene, was central to the group's philosophy which became the most important artistic phenomenon of the 19th century.
Relying heavily upon composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with an acute attention to his subject, has placed him among the finest painters in history.
Canvas: 21 3/4" high x 18 1/2" wide
Frame: 29 5/8" high x 26 1/8" wide
This painting is accompanied by its certificate of authentication by the Wildenstein Institute of Paris, France, February 27, 2006, and will be included in their forthcoming catalog raisonné on Renoir.
Provenance:
Gift from the artist to the sitter in 1904;
Valéry family, Paris until 1966
Private collection, Detroit, Michigan
Exhibitions:
Les Expositions de Beaux-Arts de "La Gazette des Beaux-Arts," Paris, Number 18
Galerie Durand-Ruel, Renoir Intime, Paris, January 2 to February 8, 1969, Number 44
Literature:
Renoir: Ses Amis, Ses Modeles, 1949, J. Baudot, pages 83-82
Renoir: His Life, Art and Letters, 1984, B. Erlich White, pages 226 and 228
1841-1919 · French
Madame Paul Valéry
Signed and dated "Renoir 04" (lower left)
Oil on canvas
On November 27th, 1904, Pierre-Auguste Renoir wrote to young Jeanne Valéry: "Would you care to come [to my studio] starting Tuesday morning, if there's not too much fog?" A gentle request from one of the best loved Impressionists of all time, Renoir's calling upon Jeanne that late November day would yield this remarkable composition of his adopted daughter.
This portrait is that of Jeanne Valéry, nee Gobillard, the wife of French poet, essayist and philosopher, Paul Valéry. An orphan at the tender age of 16, Jeanne was the niece of fellow Impressionist Berthe Morisot. The artist took Jeanne and her sister Paule into her family when their mother died, but Morisot's sudden death in 1895 left the young girls without a guardian once more. Renoir, who had been an extremely close friend of Morisot, became the guardian of Morisot's daughter Julie and the Gobillard girls, inviting the three to join his family. Julie, Jeanne, and Paule became very attached to each other and to Renoir, who often entertained them with art lessons. In 1900, Jeanne married Valéry in a double ceremony with Julie and Ernst Rouart, the son of Renoir's good friend and fellow artist, Henri Rouart. This portrait was the first documented portrait Renoir completed of Jeanne, making it quite an exceptional composition.
Renoir was born in Limoges, France and began his career as an apprentice to a painter of porcelain wares. He then moved to Paris at the age of 21, enrolling at the prestigious École des Beaux Arts. It was here, while studying under Charles Gleyre, that Renoir met Claude Monet and several other classmates who would later establish the celebrated French Impressionist group.
Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir embraced working en plein air, or out in the open, recognizing how a subject constantly changed through the dynamism of light. Capturing a particular moment in time, or an "impression," rather than a subjective scene, was central to the group's philosophy which became the most important artistic phenomenon of the 19th century.
Relying heavily upon composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with an acute attention to his subject, has placed him among the finest painters in history.
Canvas: 21 3/4" high x 18 1/2" wide
Frame: 29 5/8" high x 26 1/8" wide
This painting is accompanied by its certificate of authentication by the Wildenstein Institute of Paris, France, February 27, 2006, and will be included in their forthcoming catalog raisonné on Renoir.
Provenance:
Gift from the artist to the sitter in 1904;
Valéry family, Paris until 1966
Private collection, Detroit, Michigan
Exhibitions:
Les Expositions de Beaux-Arts de "La Gazette des Beaux-Arts," Paris, Number 18
Galerie Durand-Ruel, Renoir Intime, Paris, January 2 to February 8, 1969, Number 44
Literature:
Renoir: Ses Amis, Ses Modeles, 1949, J. Baudot, pages 83-82
Renoir: His Life, Art and Letters, 1984, B. Erlich White, pages 226 and 228
