Product Description
In the Meadow, 1888–92, Auguste Renoir, French. Historical artwork in public domain. Between 1888 and 1892 Renoir painted a number of works in which the same pair of girls—the blonde wearing a white frock and the brunette a pink one—engage in leisurely pastimes. Here, they pick flowers; the same models appear at the piano in a painting now in the Museum's Lehman Collection (1975.1.201). These intimate genre scenes, which celebrate youthful innocence, found a ready market in the early 1890s. Title: In the Meadow Artist: Auguste Renoir (French, Limoges 1841–1919 Cagnes-sur-Mer) Date: 1888–92 Medium: Oil on canvas Inscription: Signed (lower left): Renoir. References on the original "French, English, and American Paintings." Metropolitan Museum of Art Bulletin 15 (September 1920), p. 207. Ambroise Vollard. Renoir, An Intimate Record. New York, 1925, p. 246, dates it 1906. Stephan Bourgeois. The Adolph Lewisohn Collection of Modern French Paintings and Sculptures. New York, 1928, pp. 136–37, ill., dates it about 1894 or 1895. Julius Meier-Graefe. Renoir. Leipzig, 1929, p. 213, no. 210, ill., dates it 1890. Samuel A. Lewisohn. "Drama in Painting." Creative Art 9 (September 1931), p. 195, ill. opp. p. 185 (color). R. H. Wilenski. Modern French Painters. New York, [1940], p. 342, dates it about 1894. Alfred M. Frankfurter. Renoir, Centennial Loan Exhibition, 1841–1941. Exh. cat., Duveen Galleries. New York, 1941, pp. 83, 155, no. 61, ill., dates it about 1890. Preface by Edward Alden Jewell in French Impressionists and Their Contemporaries Represented in American Collections. New York, 1944, ill. p. 78 (color), dates it about 1894–95. John Rewald. The History of Impressionism. New York, 1946, ill. opp. p. 408 (color), dates it about 1895. Walter Pach. Pierre-Auguste Renoir. New York, 1950, pp. 90–91, ill. (color), dates it about 1890, and states that it recalls Renoir's works of the 1880s, but with a new richness of color. Harry B. Wehle. The Metropolitan Museum of Art Miniatures: Figure Paintings by Renoir. Vol. 34, Album LF, New York, 1952, unpaginated, ill. (color), tentatively identifies the sitters as Julie Manet [Rouart] and Jeannie Gobillard, daughter and niece of Berthe Morisot; dates it to the summer of 1891, when Renoir visited Berthe Morisot in Mézy. J. Manet Rouart. Letter to H. B. Wehle. February 18, 1952, states that neither she nor her cousin, Jeannie Gobillard, posed for the painting; suggests that the models were the same as those in "Girls at the Piano"; states that since the landscape seems to be that of Mézy, it may very well be dated about 1891. Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 83. Bruno F. Schneider. Renoir. Berlin, [1957], p. 45, ill. (color), dates it 1890–94. Hermann Bünemann. Renoir. Ettal, 1959, pp. 95–96, 214, no. 95, ill. (color), dates it 1890. Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 158–59, ill., argue that it is stylistically similar to works of about 1890, rather than to those made around 1895, the period to which it is sometimes dated; state that the soft handling is typical of Renoir's work when he was reacting against exact drawing and the hard forms of his so-called "dry" style. François Daulte. Auguste Renoir: Catalogue raisonné de l'œuvre peint. Vol. 1, Figures. Lausanne, 1971, unpaginated, no. 610, ill., erroneously states that Durand-Ruel sold the painting on December 10, 1912 to Gordon Edwards [see Ref. House 1985]. Carl R. Baldwin. The Impressionist Epoch. Exh. brochure, The Metropolitan Museum of Art. [New York], 1974, p. 5, dates it about 1890. Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 170–71, ill. (color). John House in Renoir. Exh. cat., Hayward Gallery. [London], 1985, pp. 133, 256–57, no. 85, ill. (color and black and white), dates it about 1890; mentions the confusion between it and another version (Museum of Fine Arts, Boston) when they were both in Durand-Ruel's New York stock; compares the two versions, and believes that they were painted at around the same time and from the same models. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 484, ill. Kathryn Calley Galitz in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 242–44, no. 47, ill. p. 243 (color) and on cover (color detail) [Catalan ed., Barcelona, 2006, pp. 132–33, no. 39, ill. (color)], notes that the girls are possibly models from Paris that appear regularly in Renoir's pictures from 1888 to 1892, and that he probably painted it in his studio rather than outdoors; characterizes the soft handling of paint as a rejection of his mid- to late 1880s linear style. Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, p. 22 [Catalan ed., Barcelona, 2006, p. 19]. Petra ten-Doesschate Chu. Nineteenth-Century European Art. 2nd ed. Upper Saddle River, N.J., 2006, p. 425, fig. 17-18 (color), dates it 1890. Guy-Patrice Dauberville and Michel Dauberville. Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles. Vol. 2, 1882–1894. Paris, 2009, pp. 182–83, no. 978, ill. Léonard Gianadda in Pierre-Auguste Renoir: Revoir Renoir. Ed. Daniel Marchesseau. Exh. cat., Fondation Pierre Gianadda. Martigny, 2014, p. 7.
.: 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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