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Luncheon of the Boating Party Analysis | Pierre Auguste Renoir

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Luncheon of the Boating Party Analysis | Pierre Auguste Renoir Luncheon of the Boating Party Analysis Date of Creation: 1881 Alternative Names: Le dejeuner des canotiers Height (cm): 130.20 Length (cm): 175.60 Medium: Oil Support: Canvas Subject: Scenery Framed: Yes Art Movement: Impressionism Created by: Pierre-Auguste Renoir Current Location: Washington, District of Columbia Displayed at: Phillips Collection Owner: Phillips Collection Luncheon of the Boating Party Analysis Page's Content Composition Use of color Use of Light Mood, Tone and Emotion Luncheon of the Boating Party Composition Top The arrangement of Luncheon of the Boating Party represents a relatively new Impressionist movement as well as the changing character of French society due to the industrial revolution. Renoir craftily uses shape, space, color and texture to create the scene he imagined. The figures and bottles add shape to the canvas and the overlapping of bodies gives a sense of space. Renoir also makes his composition more effective by adopting elements of design such as balance, repetition and harmony. A sense of movement is realized through the actions and expression of the cast and repetition is achieved through the curves of the gazebo cover, the stripes, the posts in the railing and the yellow straw hats which guide the viewers eye around the canvas. The artists combination of thickly applied brushstrokes and more delicate ones adds to the composition, and specks of red and white make the painting easy on the eye. In terms of balance, Renoir is extremely clever and succeeds in balancing two figures on the left with twelve on the right. By tilting the floorboards, the artist allows characters in the upper-right background to be easily visible and this adds to the feeling of intimacy and informality. There is no evidence suggesting that Renoir created any preparatory drawings for Luncheon of the Boating Party or that he made any preliminary sketches on the canvas. Instead he developed his compositions as he went along, a common Impressionist approach. To organize this arrangement its believed that Renoir gathered most of his subjects at the Maison Fournaise early on. He made several compositional changes when painting the piece, one of the major additions being the striped awning which works to further enforce the feeling of intimacy. Furthermore, the greenery emphasizes the somewhat cozy atmosphere. Luncheon of the Boating Party Use of color Top The colors adopted by Renoir are very rich and he contrasts the deep blue and green with vivid red and greens. Brimming with color this painting reflects both the time period and Impressionist style. Texture is represented by the figures´ clothing as well as Renoir´s applied brushstrokes. Renoir´s palette also contains many golden tones and the women´s fair skin is reddened from the sun and the hats and bare arms are further evidence of a warm day. Techniques of blending and layering to convey warmth and glowing skin with subtle tints of blue and green are fairly traditional. Luncheon of the Boating Party Use of Light Top There is a great deal of light throughout the composition of Luncheon of the Boating Party. The main light source is the opening in the balcony and the beaming sunlight is reflected by the table cloth and the vests of the two men in the foreground. This canvas captures the momentary effects of changing light and color. Luncheon of the Boating Party Mood, Tone and Emotion Top In traditional Impressionist style Renoir depicted a scene from modern life and based it in a place he knew well - the Restaurant Fournaise. Chatou was one of Renoir's beloved settings and Luncheon of the Boating Party is a romanticized portrait of his friends enjoying a Sunday afternoon on the balcony of the restaurant. His intention was to take a normal scene and create a modern day party that portrayed the youth and beauty of his friends. http://www.artble.com/artists/pierre- auguste_renoir/paintings/luncheon_of_the_boating_party/more_information/analysis Luncheon of the Boating Party Story and Theme Top Luncheon of the Boating Party was painted in 1881 and is often referred to by its French name, Le déjeuner des canotiers. This canvas was produced at the height of Renoirs Impressionist career and is one of his last works capturing a sociable, pleasant scene from his early life. Luncheon of the Boating Party shows a group of Renoirs friends relaxing and enjoying food, drinks, and good conversation on a balcony at the Maison Fournaise in Chatou, France. Renoir often included close friends is his paintings and they would model for him when needed. In Luncheon of the Boating Party Renoirs future wife, Aline Charigot, can be seen in the foreground playing with a small dog, and she is the only member of the group not engaging in conversation. The Maison Fournaise was a popular meeting place for the new couple because Charigot loved to row and dance and the restaurant was in a prime location overlooking the Seine. Renoir conveyed his feelings for Aline at this time by separating her from the other cast members; she is the only subject who does not flirt with anyone but instead directs all of her attention at her dog. Renoir also reinforces Alines status in the painting by using brighter colors for her clothing. Luncheon of the Boating Party was painted early in the couple's relationship and is one of Renoir's first paintings of his wife-to-be. Focusing on other cast members, in the right foreground of the painting wearing a straw hat is Gustave Caillebotte, one of Renoir's wealthy customers. Other subjects include the artist Paul Lhote, the amateur art historian, collector, and editor of the Gazette des Beaux-Arts Charles Ephrussi, French poet Jules Laforgue, actresses Ellen Andree, Jeanne Samary and Angele Legault, former mayor of colonial Saigon Baron Raoul Barbier, the restaurant proprietors children Louise-Alphonsine Fournaise and Alphonse Fournaise Jr, bureaucrat Eugene Pierre Lestringez, and Italian journalist Maggiolo. At the time he started on this canvas Renoir was beginning to think that pure Impressionism carried out in the open was too limiting and so most of this canvas was painted in the studio. Renoir owned a studio near the Maison Fournaise where friends posed for him and he refined this canvas there before returning to Paris and completing the work in 1881. However, this painting was not without its setbacks and in a letter written by Renoir in 1880 he suggests that he worked on individual subjects as they were available but that he was not happy with the progress being made: "I no longer know where I am with it, except that it is annoying me more and more. " It was often difficult for Renoir to assemble his cast members and the size of this canvas meant that it took a great deal of funding to complete. Renoir made numerous changes to the painting, adding in individual figures when his models were available, and he included the striped awning along the top edge later on. The canvas sold in 1881 to Paul Durand-Ruel, a huge supporter and collector of the artists work. It remained in his private collection until 1923, when his sons sold it to Duncan Phillips. The painting can still be seen in the Phillips Collection today and is one of the most famous works of art on display. One of Renoirs most recognizable works, Luncheon of the Boating Party is instantly recognizable and it is symbolic of this period in history and exhibits Impressionism at its very best. http://www.artble.com/artists/pierre- auguste_renoir/paintings/luncheon_of_the_boating_party/more_information/story-theme 25feb 2013-mznll Introduction Top Luncheon of the Boating Party is generally regarded as one of Renoir's early masterpieces. Though, like most of Renoir's works, it is not without its critics. Luncheon of the Boating Party During Artist's Life Top Embarkation for Cythera Antoine Watteau When Renoir produced Luncheon of the Boating Party he was beginning to paint more informal canvasses in which the normal distinction between sketch and finished painting was gradually being lost. The work of the Impressionists was already under much scrutiny and comments from author and critic Emile Zola in particular could have been one of Renoir's motivations for creating Luncheon of the Boating Party. Zola wrote a review of the Impressionist show and labeled the artists as a "sloppy, self-satisfied group of forerunners inferior to what they undertake". Needless to say Zola did not hold such artists in high regard. To many people such disapproval seemed ridiculous but it seems that Renoir took such criticism to heart and was determined to create a masterpiece to disprove Zola´s theory. It wasn't until 1883 that Renoir felt he could no longer continue with Impressionism but many believe that Luncheon of the Boating Party is already evidence of a changing style. With this and other works Renoir felt that his technique was becoming too loose and that the distinctiveness of the forms was being lost. To overcome this, he studied past works and visited Italy for inspiration. It was also around this time that Renoir began to see more limitations with painting plein air and that is why most of this canvas was executed in the studio. He felt that painting straight from nature made compositions impossible and too repetitive. Making such changes gave Renoir a fresh outlook and enthusiasm for his work. Luncheon of the Boating Party After Artist's Death Top François Boucher Paris In his analysis of what is possibly Renoir's most famous and happy canvas, Theodore Duret questions whether this is a truly joyful painting. Duret argues that if we look at the lips and eyes of the cast it is possible to see Renoir's discomfort with the mixing of social classes.
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