Product Description
A Road in Louveciennes, ca. 1870, Auguste Renoir, French. Historical artwork in public domain. Paintings by masters from the golden age of classical art.
.: Manufacturing regions: UK, EU
.: Printing method: Giclée, Solvent inkjet
.: Lifelong color guarantee
.: 100% cotton fabric
.: Wooden frame
.: High image quality and detail
.: For indoor use
.: Pre-installed hanging hardware
.: Ensures proper locking to walls
Each custom stretched canvas begins with a 12-color Giclée print, produced from a choice of substrates. We then make a custom wooden frame. The canvas is then hand-finished by our experienced framing team, who ensure each corner fold is perfectly smooth and tight.
Designed for indoor use, custom stretched canvas prints are made from treated cotton - providing the smoothest of matte surfaces for exceptional design vividity. A combination of <b>quality and durability</b>, these hangings come with a <b>lifelong color guarantee; there's significant confidence in their withstanding the test of time</b>. On the backside, pre-installed hanging hardware <b>ensures proper locking to walls</b>.
Colors may vary slightly during the printing process.
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This picture, which is in effect drawn directly with paint, was almost certainly executed out-of-doors about 1870. The site is in the village of Louveciennes, west of Paris, where Renoir's parents had a summer home. Camille Pissarro, who lived and worked in the village in 1869–70, painted a view of the same road (National Gallery, London). Title: A Road in Louvecienne Artist: Auguste Renoir (French, Limoges 1841–1919 Cagnes-sur-Mer) Date: ca. 1870 Medium: Oil on canvas Inscription: Signed (lower right): Renoir Pissarro depicted the same scene from a vantage point only slightly further back, View from Louveciennes (National Gallery, London, no. 3265), also about 1870, indicating the interaction of the two painters. In 1979 Stella Blum of the MMA Costume Institute made observations based on the costume of the woman in the picture: the dress could not date before 1868, although its shape is more typical of the early 1870s; the picture could not be later than 1874, if the lady is au courant. Between the years 1868 and 1874 parasols became very small, as here, and dress reflected the styles of the late eighteenth century. The child's costume is also from the early 1870s. Designed for indoor use, custom stretched canvas prints are made from treated cotton - providing the smoothest of matte surfaces for exceptional design vividity. A combination of quality and durability, these hangings come with a lifelong color guarantee; there's significant confidence in their withstanding the test of time. On the backside, pre-installed hanging hardware ensures proper locking to walls. .: 100% cotton fabric .: Wooden frame .: High image quality and detail .: For indoor use References on the original "Louveciennes et ses peintres." Louveciennes: Bulletin officiel municipal no. 40 (March 1980), p. 13, ill., states that the subject is inappropriately identified as a park in Louveciennes and that it represents instead a much-used road. Christopher Lloyd in Retrospective Camille Pissarro. Exh. cat., Isetan Museum of Art. [Tokyo], 1984, p. 128, under no. 12. Sjraar van Heutgen et al. in Franse meesters uit het Metropolitan Museum of Art: Realisten en Impressionisten. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Zwolle, The Netherlands, 1987, pp. 64–65, no. 19, ill. (color, overall and detail). Charles Harrison. "Impressionism, Modernism and Originality." Modernity and Modernism: French Painting in the Nineteenth Century. New Haven, 1993, p. 184, pl. 174, contrasts it with Pissarro's painting of the same motif, stating that the Renoir "represents the viewpoint of a tourist looking for a rural idyll". Henri Loyrette in Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, p. 456, no. 179, ill., suggests that it was made when Renoir visited his parents in Voisins-Louveciennes in the summer of 1869; notes the presence of the aqueduct of Louveciennes, near where Monet lived at the time, and calls it little known; remarks that Pissarro painted the same motif the following spring. Gary Tinterow in Gary Tinterow and Henri Loyrette. Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 263, 297, 448, no. 179, fig. 325 (color), groups it with works exhibiting the aesthetic of the pochade. John House. Landscapes of France: Impressionism and Its Rivals. Exh. cat., Hayward Gallery. London, 1995, pp. 190–93, no. 64, ill. (color, overall and detail), discusses the Marly Aqueduct, which appears in this and several other paintings of this area, in connection with Pissarro's "The Versailles Road at Louveciennes (Rain Effect)" (Clark Art Institute, Williamstown); contrasts it with the painting at the Clark and suggests that the principal difference is in the figures, which here make the scene into a pleasure ground, and in the Pissarro, a workplace; notes that the handling in our painting is comparable to Renoir's "La promenade" of 1870 (J. Paul Getty Museum, Los Angeles). Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 480, ill. Colin B. Bailey in Renoir Landscapes: 1865–1883. Exh. cat., National Gallery. London, 2007, pp. 103–5, no. 8, ill. (color), calls it "Road in Louveciennes" and dates it early summer 1870; identifies the site as the rue St-Michel with the Marly aqueduct in the background; states that the signature was added at a later date; observes the contrast between the finely dressed couple and girl with the peasant boy and woman passing by "in quiet acknowledgement of their separate rituals". John Zarobell in Renoir Landscapes: 1865–1883. Exh. cat., National Gallery. London, 2007, p. 108. Guy-Patrice Dauberville, and Michel Dauberville, with Camille Fremontier-Murphy. Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles. Vol. 1, 1858–1881. Paris, 2007, p. 231, no. 180, ill. Marie-Louis Schembri and L. M. Boring in Monet et Renoir Côte à Côte à la Grenouillère. Exh. cat., Musée de la Grenouillère. Croissy-sur-Seine, 2012, p. 20. Stefanie Manthey and Nina Zimmer in Renoir, Between Bohemia and Bourgeoisie: The Early Years. Exh. cat., Kunstmuseum Basel. Ostfildern, 2012, pp. 104, 154, no. 17, ill. p. 155 (color).
